Music and the Figurative Arts in the Twentieth Century

The relationship between music and the figurative arts during the twentieth century is encoded in the links that exist between various composers and artists (e.g.  Arnold Schönberg and Wassily Kandinsky, Igor Stravinsky and Pablo Picasso, Pierre Bolulez and Paul Klee, etc.). The present volume, which brings together 23 essays by musicologists aims to explore this multifaceted world and will focus on artistic movements and political-sociological phenomena, including musical iconography, associated with totalitarian regimes of the twentieth century. Some articles examine Public Art & Pop Art movements in the 1950/60, the relationships between avant-garde artists, composers and repertoires. Finally, several studies are dedicated to the concurrence of musical and artistic aesthetics, and to the personal experiences of contemporary composers like Aldo Clementi, György Ligeti, Paweł Łukaszewski’s or Karleinz Stockhausen.

Roberto Illiano

Musical Notation  and Figurative Arts         

Encounters between Composers and Artists

Gianfranco Vinay,  Il tempo qui diventa spazio. Astrattismo pittorico e musica

Muriel  Joubert, Quand la figure disparaît des espaces picturaux et musicaux du début du XX^e siècle: l’exemple  de la musique de Debussy 

Manuel Farolfi, Pierre Boulez incontra Paul Klee: Structure Ia, un’opera d’arte ‘al limite del paese fertile’             

Michael Christoforidis, Mediterranean Encounter:  Pablo Picasso, Igor Stravinsky and the Étude for Pianola (1917)          

Marina Lupishko, Konyus’ ‘Metrotechtonism’  and Yavorsky’s ‘Modal Rhythm’: Parallels Between  Music  and Architecture in Early Soviet Music Theory            

Luisa Balaguer, Requiebros de Enrique Granados: una fenomenología hermenéutica Ricœuriana-Orteguiana  de la imaginación en música          

Iconography, Public Art & Pop Art

Matthias  Tischer, Musikikonographie und Kalter Krieg

Björn R. Tammen, Musikdarstellungen im Sozialen Wohnungsbau. Städtische Bildpolitik und die Freiräume künstlerischer Imagination am Beispiel der Wiener Gemeindebauten

Marie Louise Herzfeld-Schild, Musical Pop-Art:  Cathy Berberian’s Stripsody (1966)              

Marita Fornaro Bordolli, 30.5 x 30.5: Music and Image on the Covers of Vinyl Records of Uruguayan Popular Music        

Composing in Colour

Bianca Tiples Temes, Componer con colores: el caso de Ligeti   

Agnieszka Draus, Cognitive  Blending and Intertextual Strategies in the Stage Cycle  Licht by Karlheinz Stockhausen  

Monika Fink, Zwischen Imagination und Realität. Bilder für Orchester von Michael Denhoff              

Renata Borowiecka, The Musical Image of an Angel in Paweł Łukaszewski’s ‘Symphony of Angels’              

Daniela Tortora, I Collage di Aldo Clementi           

Political Issues, Music and Figurative Arts

M^a  Isabel Cabrera García – Gemma Pérez Zalduondo, Le concept d’unité dans le discours et la pratique artistiques aux premiers temps du Franquisme           

Javier Suárez-Pajares, El himno falangista Cara al sol. De la composición  a la ilustración       

Germán Gan Quesada, Plastic Frames for New Sounds:  Spanish avant-garde Music and Abstract Painting in the Mid-Franco Regime (1957-1963)               

Mark E. Perry, Catalan Nationalism  and the Collaboration between Joan Miró and Roberto Gerhard 

Concurrences of Musical and Artistic Aesthetics

Alejandro  Barrañón, The Mexican  Artistic  Renaissance in the Twentieth Century: Influences of Revolutionary Painting in the Ballets of Carlos Chávez   

Aleksandra Kłaput-WiSniewska, Bogusław Schaeffer et Ewa Synowiec: créateurs polonais de graphies musicales. Deux générations — une même philosophie de l’art     

Bélen Vega Pichaco, Performing Cubanity in Sounds and Images: Cuban Painting and Music Avant-Garde through the Looking-Glass of MoMA in the Early 1940s

Jordi Ballester, Música, espiritualidad y poder evocador en la obra de Antoni Tàpies  

Appendix

Biographies      

Index of Names