Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also (...) drawn. (shrink)

The present article discusses the relation between painting and music in the work by Paul Klee, bringing it into conversation with the music by Anton Webern. It assumes, as a starting point, that the main question is not about relating painting and music but rather about the relation between moving towards painting and moving towards music, hence the relation between forming forces and not between formed forms. Since for Klee the musical structure of the pictorial is (...) understood as “active linear polyphony,” the article develops this notion in conversation with Webern’s thoughts on the polyphonic structure of twelve-tone music. The general purpose of the article is to determine what kind of thoughts emerge from the in-between of painting and music. (shrink)

Ever since Lessing’s 1776 “Laocoön: An Essay upon the Limits of Poetry and Painting” aestheticians have been debating the essential differences between the temporal and the visual arts. Pace Lessing and his twentieth-century philosophical descendants, this essay explores the idea that the musical style cultivated by the American composer Elliott Carter in the years following World War II and the “action paintings” produced ca. 1947–53 by his compatriot Jackson Pollock in fact have quite a bit in common. The commonality, (...) the essay argues, is not so much anything contained in the works themselves as something perceived – perhaps even viscerally felt – by persons who experience the paintings and the musical compositions. Although their musical and painterly efforts are in most ways as different as night and day, both Carter and Pollock managed in their postwar works – perhaps uniquely – to create the potent illusion of multiple times that seem to pass at the same time. (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a (...) boy pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

How do the arts give us pleasure? Covering a very wide range of artistic works, from Auden to David Lynch, Rembrandt to Edward Weston, and Richard Strauss to Keith Jarrett, Pleasure and the Arts offers us an explanation of our enjoyable emotional engagements with literature, music, and painting. The arts direct us to intimate and particularized relationships, with the people represented in the works, or with those we imagine produced them. When we listen to music, look at a (...) purely abstract painting, or drink a glass of wine, can we enjoy the experience without verbalizing our response? Do our interpretative assumptions, our awareness of technique, and our attitudes to fantasy, get in the way of our appreciation of art, or enhance it? Examining these questions and more, we discover how curiosity drives us to enjoy narratives, ordinary jokes, metaphors, and modernist epiphanies, and how narrative in all the arts can order and provoke intense enjoyment. Pleasurable in its own right, Pleasure and the Arts presents a sparkling explanation of the enduring interest of artistic expression. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of Music for the Moral and Spiritual Cultivation of VirtueDavid CarrIs There any Virtue in Music?Given its time-honored place, along with other arts, in many if not most past and present school curricula it would seem that at least some forms of music have been widely credited with educational value. Beyond the general association of music with high culture and, notwithstanding the evident (...) discipline involved in learning to play musical instruments, however, it is less clear what sort of value this might be. Despite the considerable ethical complexity of much art and the vexed nature of any relationship between the moral and the aesthetic, one may clearly regard very many works of literature, much representational painting, and even some dances as having some moral educational significance. That said, it may be less clear how other arts or art genres—such as music or abstract painting—could be said to have much significant moral import or content (as well as being unreasonably procrustean to insist that they should). Indeed, recalling the well-known point of Richard Peters about the inherently normative character of the concept of education—that it would be hard to regard a man as educated [End Page 103] who had not in some sense been made 'better'1 —one way of posing the present question might be to ask whether, regardless of its potential for pleasure, there is much if any real virtue in music?Plato and Scruton on Music and MoralsThere is, to be sure, a long tradition of reflection on the moral implications of music, and questions about the effects of music on moral development and character are of course raised in several Platonic dialogues. Thus, in one part of the Republic, Plato explores in some detail what he takes to be the effects on character of the various Greek musical modes, arguing for the moral superiority of those that foster courage and self-discipline over those that promote sensuality and self-abandon.2 Such claims also seem mostly consistent with a general Platonic aesthetics that precludes any role for the arts beyond service to a strict morality of individual self-control and social order. There are also, however, other sections of the Republic in which Plato envisages another softer role for music (broadly construed to include also literature and poetry) as a counterbalance to an excess of physical education, which can produce "savagery and hardness."3 Still, to whatever extent Plato might here be trying to have his case and eat it, his explicit claim that only the Dorian and Phrygian modes are suitable for moral consumption are probably more consistent with the broad drift of Platonic aesthetics. Generally, Plato's view appears to be that music—in the narrower rather than broader (Greek) sense—is a kind of ordered affect-charged auditory experience, that some forms of musical order are more conducive to the harmony or balance of the soul than others, and that a healthy human soul or character should in some way reflect the harmony of appropriate or approved forms of music.Although the logical and/or psychological status of such bygone claims is far from easy to evaluate, something of the spirit of Platonic thought on music and virtue seems discernible in more recent writings on the philosophy of music. Thus, Roger Scruton's case for the musical and moral superiority of serious classical works over much latter day popular music would appear to rest mainly on considerations relating to the greater structural order, organization, and complexity of the former over the latter.4 Like Plato, Scruton would seem to regard musical form, order, and organization as directly linked to emotional discipline, so that whereas the classics may be expected to cultivate ordered passion and sensibility, the unmelodic, discordant, and rhythmically unsubtle sounds of much modern popular music can only be expected to engender crude, disorganized, and uncontrolled feelings. Scruton makes much of the decline of dance under the influence of such contemporary musical anarchy, as precisely exhibited in the abandonment of conventions governing the control, for individually and [End Page 104] socially significant purposes, of physical gesture and bodily movement. Hence, although Scruton... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Significance of Music for the Moral and Spiritual Cultivation of VirtueDavid CarrIs There any Virtue in Music?Given its time-honored place, along with other arts, in many if not most past and present school curricula it would seem that at least some forms of music have been widely credited with educational value. Beyond the general association of music with high culture and, notwithstanding the evident (...) discipline involved in learning to play musical instruments, however, it is less clear what sort of value this might be. Despite the considerable ethical complexity of much art and the vexed nature of any relationship between the moral and the aesthetic, one may clearly regard very many works of literature, much representational painting, and even some dances as having some moral educational significance. That said, it may be less clear how other arts or art genres—such as music or abstract painting—could be said to have much significant moral import or content (as well as being unreasonably procrustean to insist that they should). Indeed, recalling the well-known point of Richard Peters about the inherently normative character of the concept of education—that it would be hard to regard a man as educated [End Page 103] who had not in some sense been made 'better'1 —one way of posing the present question might be to ask whether, regardless of its potential for pleasure, there is much if any real virtue in music?Plato and Scruton on Music and MoralsThere is, to be sure, a long tradition of reflection on the moral implications of music, and questions about the effects of music on moral development and character are of course raised in several Platonic dialogues. Thus, in one part of the Republic, Plato explores in some detail what he takes to be the effects on character of the various Greek musical modes, arguing for the moral superiority of those that foster courage and self-discipline over those that promote sensuality and self-abandon.2 Such claims also seem mostly consistent with a general Platonic aesthetics that precludes any role for the arts beyond service to a strict morality of individual self-control and social order. There are also, however, other sections of the Republic in which Plato envisages another softer role for music (broadly construed to include also literature and poetry) as a counterbalance to an excess of physical education, which can produce "savagery and hardness."3 Still, to whatever extent Plato might here be trying to have his case and eat it, his explicit claim that only the Dorian and Phrygian modes are suitable for moral consumption are probably more consistent with the broad drift of Platonic aesthetics. Generally, Plato's view appears to be that music—in the narrower rather than broader (Greek) sense—is a kind of ordered affect-charged auditory experience, that some forms of musical order are more conducive to the harmony or balance of the soul than others, and that a healthy human soul or character should in some way reflect the harmony of appropriate or approved forms of music.Although the logical and/or psychological status of such bygone claims is far from easy to evaluate, something of the spirit of Platonic thought on music and virtue seems discernible in more recent writings on the philosophy of music. Thus, Roger Scruton's case for the musical and moral superiority of serious classical works over much latter day popular music would appear to rest mainly on considerations relating to the greater structural order, organization, and complexity of the former over the latter.4 Like Plato, Scruton would seem to regard musical form, order, and organization as directly linked to emotional discipline, so that whereas the classics may be expected to cultivate ordered passion and sensibility, the unmelodic, discordant, and rhythmically unsubtle sounds of much modern popular music can only be expected to engender crude, disorganized, and uncontrolled feelings. Scruton makes much of the decline of dance under the influence of such contemporary musical anarchy, as precisely exhibited in the abandonment of conventions governing the control, for individually and [End Page 104] socially significant purposes, of physical gesture and bodily movement. Hence, although Scruton... (shrink)

Bogue provides a systematic overview and introduction to Deleuze's writings on music and painting, and an assessment of their position within his aesthetics as a whole. Deleuze on Music, Painting and the Arts breaks new ground in the scholarship on Deleuze's aesthetics, while providing a clear and accessible guide to his often overlooked writings in the fields of music and painting.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

In lieu of an abstract, here is a brief excerpt of the content:A Response to David Carr, “The Significance of Music for the Promotion of Moral and Spiritual Value”Iris M. YobDavid Carr has addressed a question that has been lurking in philosophical literature for centuries and, I might add, in our collective intuition as well: Just what is the connection between music and the moral and spiritual life? And as we have come to expect from his work, he (...) brings a new perspective to this perennial question in his answer. First he traces a line of thinking since Plato about music and the ordering of the soul, he touches on the role of music and the other arts in exploring the complexities of the moral imperative as it is lived out in human lives, and returns at the end to give a new take on the old Platonic idea of ordering of the soul. Just maybe, he suggests, the detachment, however temporary, "from the trials and tribulations that beset us in the day to day rough and tumble of human practical affairs" "in the interests of some more balanced perspective" on spiritual and moral matters "might be easier to achieve in the contemplation and appreciation of great works of 'music alone.'"This conclusion does not lay claim to more than what is perfectly reasonable. Allowing oneself to be immersed in a great work of music or art or architecture or dance may very well provide that distance from every day life where one might [End Page 209] re-center and refocus, refresh and renew one's outlook on the world. Such an engagement with an artwork can interrupt the patterns of thinking and acting that might have become increasingly thoughtless and ego-centric. It can be a re-creation in the true sense of the word. Paul Tillich, one of the great twentieth century religious philosophers, tells of an experience he had during the First World War where he served as a chaplain in the German army. On a brief leave from the front he visited Kaiser Friedrich Museum in Berlin and stood entranced before Botticelli's "Madonna and Child with Singing Angels." The moment was spiritually transformative, he tells us, lifting his spirits beyond the mud and grime of the battlefield to contemplate life and meaning on a different plane altogether. The experience enabled him to return to duty with renewed inner strength and calm.1 I believe this is a rather powerful and compelling example of what Carr is talking about.In coming to his conclusion, Carr is relying on the particularly difficult case of "music alone," that is, music that does not have words, title, or any other kind of representative function. In other words his argument does not depend on any didactic nature or morally or spiritually directive intent of the music. Rather, it is centered on music that ostensibly is not about anything. This is musical sound composed and performed for the appreciation of what it is in itself. And yet, in providing distance from the every day world, according to Carr, it can give expression to "realms of spiritual experience that lie beyond the sensual and empirical." Here we enter the world of the metaphorical and symbolic, what Rudolf Otto would call the "irrational" or "superrational," or the realm of the Holy. While Carr does not state this explicitly I would go so far as to say that this realm of the wordless and sacred is where the spiritual and the moral are grounded and from where they draw their power.Against this background, I would like to ask how does "music alone," in the sense intended by Carr and Peter Kivy from whom he borrowed the term bring about this effect? We are unable now to ask Tillich what it was that gave the Botticelli its impact for him, but it is curious that what it did for him it most likely did not do for all the other soldiers from the front who happened upon it the way he did. Tillich would most likely explain its effect by resorting to his theory of symbols, because after all this painting does have a literal meaning that might very well have inspired him. But... (shrink)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

In “Sideways Music”, Ned Markosian uses aesthetic intuitions about temporally-rotated music to argue that the metaphysics of time is different from the metaphysics of space. In response, I use aesthetic intuitions about spatially-rotated paintings to pose a dilemma for Markosian’s argument: either he accepts the intuitions about spatially-rotated paintings, in which case he must give up on some assumptions in his argument, or he rejects intuitions about spatially-rotated paintings, in which case an analogous response can (...) be given regarding intuitions about temporally-rotated music. That is, if Markosian wants to hold on to the assumptions that underwrite his argument, then he thereby offers his opponent the resources with which to resist his conclusion. As such, Markosian’s argument cannot offer a new independent consideration for adjudicating the metaphysical debate between the Dynamic Theorist and the Spacetime Theorist. [Unpublishable 2019]. (shrink)

Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels of (...) automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

This latest philosophical text by John Sallis is inspired by the work of contemporary Chinese painter Cao Jun. It carries out a series of philosophical reflections on nature, art, and music by taking up Cao Jun's art and thought, with a focus on questions of the elemental. Sallis's reflections are not a matter of simply relating art works to philosophical thought, as theoretical insights and developments run throughout Cao Jun's writings and inform many of his artistic works. Sallis maintains (...) abundant points of contact with Chinese philosophical traditions but also with Western philosophy. In these reflections on art, Sallis poses a critique of mimesis and considers the relation of painting to music. He affirms his conviction that the artist must always turn to nature, especially as reflections on the earth and sky delimit the scale and place of what is human. Full-color illustrations enhance this provocative and penetrating text. (shrink)

Sadness is generally seen as a negative emotion, a response to distressing and adverse situations. In an aesthetic context, however, sadness is often associated with some degree of pleasure, as suggested by the ubiquity and popularity, throughout history, of music, plays, films and paintings with a sad content. Here, we focus on the fact that music regarded as sad is often experienced as pleasurable. Compared to other art forms, music has an exceptional ability to evoke a (...) wide-range of feelings and is especially beguiling when it deals with grief and sorrow. Why is it, then, that while human survival depends on preventing painful experiences, mental pain often turns out to be explicitly sought through music? In this article we consider why and how sad music can become pleasurable. We offer a framework to account for how listening to sad music can lead to positive feelings, contending that this effect hinges on correcting an ongoing homeostatic imbalance. Sadness evoked by music is found pleasurable (1) when it is perceived as non-threatening; (2) when it is aesthetically pleasing; and (3) when it produces psychological benefits such as mood regulation, and empathic feelings, caused, for example, by recollection of and reflection on past events. We also review neuroimaging studies related to music and emotion and focus on those that deal with sadness. Further exploration of the neural mechanisms through which stimuli that usually produce sadness can induce a positive affective state could help the development of effective therapies for disorders such as depression, in which the ability to experience pleasure is attenuated. (shrink)

This review will develop a theme from the theoretical contrast between Max Weber and Adorno approach of the concept of “progress”, read by their discussions on, respectively, “The Meaning of Wertfreiheit in Sociology and Economics” (1917) and “Fortschritt”, (Progress, 1962). After establishing a comparison between both writings and their theoretical tools, we shall identify the differences in resources by the critical and traditional theory elements. The opposition shall become more distinctly as the comparison reach the historical examples from their readings (...) on Art History. Weber has employed a general bias to equate musical productions and painting, as Adorno, on the other hand, forecast something quite different as he followed the same guideline, the technical progress. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, (...) all of which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, (...) all of which are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

This chapter contains sections titled: Change and the Arts Time and the Arts Time and Change in Gardens Music Makes the Passage of Time Audible Gardens Make the Passage of Time Visible Notes.

Ancient Rus church music is one of the brightest pages of spiritual and artistic culture. It is included in the synthesis of arts along with construction, monumental and fresco painting, icon painting, fine plastics, applied art, literature.

Excerpt from The Philosophy of Modernism (in Its Connection With Music) The prerequisite to immortality in the world of art is the capacity to create something new, or, in other words, the capacity to invent a style. Indeed, let any one but survey the past history of music, poetry and painting, and he will notice that each great name stands for a literary or musical invention: so that to talk of Keats or Shelley, Beethoven or Wagner, is not (...) to talk of men only, but also of very distinct styles of art. And this capacity to create something new proceeds from a certain divine discontent - divine, because it stimulates evolution, is mild and pleasant, yet just sufficient to prevent the man who possesses it from sinking into that unprogressive lassitude so often associated with a good glass of port wine, a widow's cruse of tobacco, and a rather soporific fireside. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Community-level legal and policy innovations or “experiments” can be important levers to improve health. States and localities are empowered through the 10th Amendment of the United States Constitution to use their police powers to protect the health and welfare of the public. Many legal and policy tools are available, including: the power to tax and spend; regulation; mandated education or disclosure of information, modifying the environment — whether built or natural ; and indirect regulation. These legal and policy interventions can (...) be targeted to specific needs at the community level and are often relatively low-cost, but high impact interventions. As every community is different, effective laws and policies will vary. This freedom allows states and localities to, as Justice Louis Brandeis argued, truly serve as “laboratories of democracy.”. (shrink)

During a period of political and social upheaval in China, the unconventional insights of the great Daoist Zhuangzi pointed to a way of living naturally. Inspired by his fascination with the wisdom of this sage, the immensely popular Taiwanese cartoonist Tsai Chih Chung created a bestselling Chinese comic book. Tsai had his cartoon characters enact the key parables of Zhuangzi, and he rendered Zhuangzi's most enlightening sayings into modern Chinese. Through Tsai's enthusiasm and skill, the earliest and core parts of (...) the Zhuangzi were thus made accessible to millions of Chinese-speaking people with no other real chance of appreciating this major Daoist text. Translated into English by Brian Bruya, the comic book is now available to a Western audience. The classical Chinese text of the selections of the Zhuangzi is reproduced in the margins throughout. Evoked by the translation and the playful cartoons is the spontaneity that Zhuangzi favors as an attitude toward life: abandon presuppositions, intellectual debates, and ambitions, he suggests, and listen to the "music of nature." With the writings attributed to Laozi, the Zhuangzi contributed to an alternative philosophical ideal that matched Confucianism in its impact on Chinese culture. Over the centuries this classical Daoism influenced many aspects of Chinese life, including painting, literature, and the martial arts. It had a particularly strong effect on Chan Buddhism. For this book, Donald Munro has written an afterword that places Daoism and the Zhuangzi in historical and cultural context. (shrink)

When I was asked to contribute an issue to the Literature and Aesthetics series on great thinkers in aesthetics, I did not appreciate how difficult it might be to put together a volume on Plato. Originally my plan was simply to call the volume Plato’s Aesthetics, or Plato on Art and Beauty. I came to realise, however, that Plato was not driven to write about art from an interest in aesthetics (at least not aesthetics as we know it), and that (...) the terms ‘art’ and ‘beauty’ are very inaccurate descriptors for what Plato was “on about”, as they say here in Australia. The fact is that Plato is concerned with all sorts of matters that walk under the umbrella of literature and aesthetics—poetry, drama, myth, music, painting, perspective, attractiveness, organicity, creativity, criticism, truth, and philosophy—and the terms ‘aesthetics’, ‘art’, and ‘beauty’ convey only a small portion of them. What was needed was a more comprehensive conception of Plato’s interest. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in (...) order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

At the moment of its decline, we clearly see that painting in oils developed an original poetics, and one that was all of a piece, throughout a renascent and modern West. From its birth and during a development lasting half a millennium we see it— in Florence, Bruges, Venice, Rome, Toledo, Nuremberg, Amsterdam and Paris—attentive to the sources of signification: languages, rites, myths, theater, tools, techniques and sciences and the urban context that wove them all together. In each case, for (...) one or the other of them, it brought a new relationship to the way of life and then left them to their social order of assimilation, keeping the initial contact for those who would be interested. It studded the West with centers of production that carried the practice and knowledge of art to their limits; engaged with the collective imagination, it punctuated history with decisive works, in which the desire to paint takes action and explains it. Marked by an impatience for change, oil painting revealed itself in a rapport with creativity akin to the other works of civilization. It is at the level of the bases of invention of the imaginary—which are in any expression the most profound structures—that the unfolding of oil painting is tightly bound. The establishment of modern national languages, the orderly rise, around a syntax and because of architecture, sculpture, music, song, tragedy, the systematic construction of scientific and technical expression, arose and grew quickly in importance in Western Europe during the same centuries as painting and with reciprocal correspondence. Dürer “who was the first to publish a treatise in which is collected all knowledge having to do with the expression of forms… wrote in his native tongue and in so doing was revealed as the creator of technical and scientific German.”. (shrink)

Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” in (...) which the first artist poses some problem that his successors develop and their successors solve.1 Such very different books as Art and Illusion and Art and Culture deploy that plan. The three periods of naturalism in E. H. Gombrich’s narrative—antiquity, Renaissance religious narrative, nineteenth-century landscape—function like Clement Greenberg’s sequence—old master art, early French modernism, American abstract expressionism. Gombrich and Greenberg disagree about how to narrate art’s history and about which works to include in that narrative—Gombrich asserts that cubism closes the canon while for Greenberg analytical cubism anticipates Jackson Pollock—but in each case, the art historian aims, as the novelist does, to tell a satisfying story and achieve narrative closure, and so how we think of the artworks the historian discusses depends in part upon the structure of the narrative. In a certain mood, we may find this fact intolerable. Why should a mere text tell us how to see the painting we may stand before?Stokes’ attempt to respond to this mood belongs to a tradition of early twentieth-century antihistorical thinking. For Rainer Maria Rilke, Rodin’s sculpture aimed to “refer to nothing that lay beyond it.” For Ezra Pound, an image “is real because we know it directly”; Henri Gaudier-Brzeska could read Chinese ideograms without knowing that language because those ideograms are transparently meaningful images. For Wyndham Lewis, a musical piece is inferior to a statue, “always there in its entirety before you.”2 Such an artwork need not be interpreted because it contains “within itself all that is relevant to itself.”3 All art is accessible to the gifted observer, and time is, in an interesting double sense, irrelevant. We see directly the meaning of works even from distant cultures; the visual artwork is experienced all at once, outside of time. If these claims are correct, what is the artwriter to do? Speaking of the Tempio Malatestiana, Hugh Kenner points to this issue:There is no description of the Tempio in accordance with good Vorticist logic: one art does not attempt what another can do better, and the meaning of the Tempio has been fully explicated on the spot by Agostino di Duccio with his chisel.4 1. Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350-1450 , p. 75.2. Rainer Maria Rilke, Rodin, trans. Jessie Lemont and Hans Trausil , p. 19; Ezra Pound, Gaudier-Brzeska: A Memoir , p. 86; Wyndham Lewis, Time and Western Man , p. 174.3. Frank Kermode, Romantic Image , p. 107.4. Hugh Kenner, The Pound Era , p. 428. David Carrier, associate professor of philosophy at Carnegie-Mellon University, is coauthor, with Mark Roskill, of Truth and Falsehood in Visual Images and author of the forthcoming Artwriting, a study of recent American art criticism. He is working on a history of art history. (shrink)

The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to (...) describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music--the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians. (shrink)

The visual arts include painting, sculpture, photography, video, and film. But many people would argue that music is the universal or only art of sound. In the modernist era, Western art music has incorporated unpitched sounds or ‘noise’, and I pursue the question of whether this process allows space for a non-musical soundart. Are there non-musical arts of sound—is there an art phonography, for instance, to parallel art photography? At the same time, I attempt a characterization of (...) class='Hi'>music, contrasting acoustic, aesthetic, and acousmatic accounts. My view is that there is some truth in all of these. I defend the claim that music is an art with a small ‘a’—a practice involving skill or craft whose ends are essentially aesthetic, that especially rewards aesthetic attention—whose material is sounds exhibiting tonal organization. But acoustic and acousmatic accounts help to distinguish between music and non-musical soundart, since music must have a preponderance of tones for its material. (shrink)

There has yet to be a culture discovered which lacks music. Music is a part of our existence, but we do not fully understand it. In this paper, working in the tradition of Aristotle, Wittgenstein and Langer, I elucidate some of the connections between music and the emotions. Using contemporary philosophy of mind theories of emotion, I explain how we can have a better understanding of our emotive responses to music. I follow the pattern through representational (...) painting and abstract painting to music, and show how each functions as an intentional object for the object of our emotions in response to each art form. (shrink)

The subject of the study. The article analyzes a number of aspects of Brahms' intermezzo Op. 119 No. 3 in order to detect non-classical tendencies manifested in the structure of the musical fabric and the principles of shaping in this work. Research methodology. In the course of the study, the method of holistic analysis was used, which includes consideration of the features of harmony, textural originality, thematic processes and form-forming patterns in the Brahms intermezzo Op. 119 No. 3. Elements of (...) comparative analysis were also applied. The scientific novelty of the work consists in the fact that as a result of the research it was possible to identify a number of non-classical qualities of Brahms' music, namely: the homogeneity of the sound fabric, a weak degree of differentiation of relief and background in texture, the absence of common forms of sound and passive fragments in musical form. The conceptual kinship of Brahms' principles of working with musical material with the technique of interpenetration of object and space, which became widespread in painting at the beginning of the XX century, was also discovered. Conclusions, the results obtained allow us to conclude that Brahms' intermezzo Op. 119 No. 3 implements a number of non-classical principles of working with musical material that anticipate the discoveries of composers of the Novovensky school. The results of the research can be used in the process of further study of Brahms' creativity and various theoretical aspects of music at the turn of the XIX–XX centuries, as well as in performing and pedagogical practice. (shrink)