Bochum, Universiẗat, Diss., 2000.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Intermedial, conceptual audio-visual audiovisual games built as a theater installation; tableaux vivants.

A musician and an architect, Richard Wagner and Gottfried Semper, two German artists, influenced the theory of art in the nineteenth century in Germany. Wagner met Semper in a music shop and later they participated in various discussions regarding the history and theories of art and they both held their own perspectives. Wagner developed the theory of Gesamtkunstwerk in Germany, based on the integration of music, dance, and poetry, while Semper worked on the integration of music and architecture based on the common character of proportion and scale. This dissertation traces the evolution of this theory in nineteenth century Germany, introducing each person's perspective while summarizing the synthesis of the notion of the arts at the end, aiming to develop a general perception of its function in art. In addition, Semper expanded the notion of mathematics in art by exploring and bringing the example of natural forms and patterns. For him, mathematics had been categorized into three aspects of Symmetry, Proportionality, and Movement. In addition, movement and direction for him were the beginning of the exploration of Vitruvius's idea of eurhythmy. Semper brought the example of the human body as a reference for measuring and scaling the architectural drawings. This research focused on three crucial questions and the discovery of Semper's work, Second Dresden Theater. First, it investigated the connection between Semper's architectural drawing and musical notation. Second, it scrutinized the attitude toward the integration of arts among artists and philosophers in nineteenth century Germany. Third, it explored the role played by / Doctor of Philosophy / A musician and an architect, Richard Wagner and Gottfried Semper, two German artists, influenced the theory of art in the nineteenth century in Germany. Wagner met Semper in a music shop and later they participated in various discussions regarding the history and theories of art and they both held their own perspectives. Wagner developed the theory of total work of art in Germany, based on the integration of music, dance, and poetry, while Semper worked on the integration of music and architecture based on the common character of proportion and scale. This dissertation traced the evolution of this theory in nineteenth century Germany while summarizing Wagner and Semper's perspectives. In addition, Semper expanded the notion of mathematics in art by exploring and bringing the example of natural forms and patterns. For him, mathematics had been categorized into three aspects of Symmetry, Proportionality, and Movement. In addition, movement and direction for him were the beginning of the exploration of Vitruvius's idea of the harmony of proportion. Semper brought the example of the human body as a reference for measuring and scaling the architectural drawings. This research focused on three crucial questions and the discovery of Semper's work, Second Dresden Theater. First, it investigated the connection between Semper's architectural drawing and musical notation. Second, it scrutinized the attitude toward the integration of arts among artists and philosophers in nineteenth century Germany. Third, it explored the role played by

This paper focuses on intermedial relations between music and literature of European Modernism and early Avant-garde, and monitors the impact of music on literary texts, literature as a whole, and the essentially literary medium - the book. "Musical work", in this case, refers to Richard Wagner's music dramas and theoretical texts that outlined Wagner's artistic-aesthetic concept of Gesamtkunstwerk as a total work of art uniting all the arts. This paper follows the meta-aesthetic line of intimate, synaestheticly oriented intracompositional literary Gesamtkunstwerk in selected literary texts by Charles Baudelaire, Stéphane Mallarmé, Marcel Proust, and in The Blaue Reiter Almanac. It reveals the essence of analogies between music and literature, various manifestations of musicalization, and their significance for literary works and literature as a whole. It additionally emphasizes that the selected texts have also been influenced by already "literarized" music, as well as by esoteric teachings on speculative music, and highlights the gradual disintegration of boundaries between the arts, which led to their abstraction.

This thesis focuses on the two selected works of the architect/engineer/composer Iannis Xenakis (1922-2001) / Philips Pavilion (1956-58) and Le Diatope (1978). It places these works at the intersection of architecture and music by showing how they combine spatial, musical and visual performances. Accordingly, it discusses them as exceptional twentieth-century examples of Gesamtkunstwerk / &ldquo / total work of art.&rdquo

This essay is an attempt to analyze, understand and reconstruct the Swedish Ballet's last work Relâche (1924) based on Richard Wagner's term Gesamtkunstwerk. Gesamtkunstverk in this case above allmeans the cross-border collaboration of artists and art forms in between, which leads according to Wagnerto a whole which is presented here as The Gesamtkunstwerk. The purpose of this essay is to take part in a work that literally no longer exist, and to try to understand itscultural-historical value. All that remains from the Swedish Ballet, is everything but the dance itself. Still we can take part of the Ballet through the artistic synthesis through innumerable collaborations shown in the sets, costumes, posters and musical compositions. I will in the analysis based on four points, try to find the tones indicating that the work is, on the basis of Wagner's definition, a Gesamtkunstwerk. The essay is also an attempt to show the innovation of this Company and to provide redress to which, according to me, is too forgotten in Swedish historiography. The thesis shows both the Swedish Ballet's historical background which includes previous works built by the same principles of collaboration presented. In this section I will also address something, according to me, important; The Swedish homophobia, mainly in the tabloids during the period in which the essay deals with, and the consequences for the company in question. Then I will analyze Relâche on the basis of the four theses, which, according to my investigation shows that the work is a Gesamtkunstwerk.

I orgeltranskriberingens historia så har Richard Wagners musik fått en särställning genom organisten Edwin H. Lemares massiva transkriptionsarbete. I det här arbetet undersöks hur Lemares transkriptionskonst är utformad och hur hans metoder kan appliceras på eget transkriptionsarbete. Lemares och andras transkriptioner jämförs med Wagners originalpartitur för att metoder och verktyg ska kunna observeras. Dessa appliceras på en egen transkription, vars skapelseprocess redogörs för. Detta arbete visar att Lemare använder sig av en metodisk teknik som i stora drag grundar sig på det klangliga resultatets slutliga kvalitet. I det här arbetet beskrivs denna teknik relativt ingående, för att om möjligt bidra med insikter och metoder för den av transkriptioner intresserade. / <p>Tillhörande inspelning av transkription <em>Morgenpracht </em>(Wagner/Käll) inspelad i Sankt Görans kyrka. Orgel: Ludvig Käll</p>

This thesis examines how visual music in Swedish silent film served as an allusion to sound, either as a cinematic effect or as an intertwined part of the film narrative. Drawing on the concepts of synaesthesia and visual music, a discussion on how both concepts relate to each other serves as the key method for analyzing a selection of films. By defining synaesthesia in relation to concepts such as Gesamtkunstwerk and photogénie, the analysis examines different synaesthetic expressions through visual music in Swedish silent film. This thesis argues that Swedish film was influenced through several forms of art and ideas from different cinematic cultures. By comparing synaesthetic expressions through visual music in Swedish silent film and other cinematic cultures, this thesis suggest that the concepts were used in different ways to define cinema as a unique form of art.

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