If an exhibition is held at a museum, the title “Listen to me” may be perceived as something strange. What is generally called an artwork, such as a painting or sculpture, primarily involves “seeing”. What on earth do people listen to in front of the work of art, and what do they hear as a result?

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Art and music
There are many artists who are fascinated by music and long for it. As the phrase “the grass next door is blue”, people tend to seek something that they don’t have, but what is music that isn’t in art, and why are artists attracted to music? To answer this question, first of all, the difference between art and music I would like to briefly describe.

Art and music can be classified into visual arts and auditory arts, respectively, but there are several other ways to classify arts into genres. When discussing art and music, it seems that it is common to divide them into spatial arts and temporal arts, respectively.

In his book ” Laokoon ” (1766), German poet and thinker Gottholtevreim Retssing ( 1729-1781) defines visual plastic arts such as paintings and sculptures as spatial arts and defines certain arts such as literature and poetry.

Let’s get to know famous painters in modern and contemporary art who seem to be closely related to music and how they perceive music.

Art that longs for music.

Symbolist painter Odilon Redon (1840-1916)

Redon loves the violin and piano and often mentions music in his memoirs and diaries. Redon, who describes himself as “due to my introspective nature, the effort towards the visual world was painful, ” pursued ” implicit art “rather than an objective depiction of the real world. It was.

Redon likens the nature of the art he should aim for to music that cannot be defined in words and has no fulcrum in the nature of reality. For Redon, who describes the chanting chorus he touched when he was young as ” contact with the world on the equinoctial week,” music was associated with imagination, dreams, and the inner world deep inside the soul.

Art that intersects with sound

The 20th century was a time when the principles that supported Western music for hundreds of years were overturned.

Schoenberg, who was mentioned at Kandinsky, dismantled the tonality and started the twelve-tone technique

Igor Stravinsky (1882-1971) constantly changed the time signature in one song, destroying the constant time signature.

Italian Futurist painter and composer Luigi Russoro (1885-1947) has conducted an experiment of noise music, the noise of the city, brought sound, or noise, into music.

Cage overturned the concept of musical sound as a material for this bitterness, shook the concept of work, and invalidated elements such as the composer’s intention. Cage’s idea of ​​incorporating the concepts of silence and contingency into pain, and at the same time eliminating the so-called musical tone and sound hierarchy and finding value in the “unintended sound” that surrounds us, is not only music but also the art of the latter half of the 20th century. It had a great impact on the whole.