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Structural Analogies

by Jörg Jewanski, Sandra Naumann

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Works
People
Socialbodies
Workdescriptions from this text
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Fugue in Red

Workdescriptions from other texts
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Broadway Boogie Woogie

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Couleurs de la Cité céleste

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Prometheus: The Poem of Fire

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Präludium

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Symphonie Diagonale

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«Structural Analogies»
Works
Fugue in Red
People
Albers Josef (Chap. 2.3), Bach Johann Sebastian (Chap. 2.3), Boulez Pierre (Chap. 3.1), Brown Earle (Chap. 3.1), Busoni Ferruccio (Chap. 2.3), Bute Mary Ellen (Chap. 2.3), Cage John (Chap. 3.3), Calder Alexander (Chap. 3.1), Delaunay Robert (Chap. 2.2), Denhoff Michael (Chap. 3.3), Dohmen Andreas (Chap. 3.3), Eggeling Viking (Chap. 2.1, 2.3), Ernst Max (Chap. 3.3), Feldman Morton (Chap. 3.2, 3.1), Hölzel Adolf (Chap. 2.2), Itten Johannes (Chap. 2.2, 2.3), Klee Paul (Chap. 2.3, 3.1), Kubelka Peter (Chap. 2.3), Kupka František (Chap. 2.1), Ligeti György (Chap. 3.2), Liszt Franz (Chap. 4, 1), Léger Fernand (Chap. 2.2), MacDonald-Wright Stanton (Chap. 2.2), Marc Franz (Chap. 2.2), Matisse Henri (Chap. 2.4), Messiaen Olivier (Chap. 3.2), Mondrian Piet (Chap. 2.2), Musorgskij Modest P. (Chap. 1), Neugeboren Heinrich (Chap. 3.1, 2.3), Neuwirth Olga (Chap. 3.1), Newman Barnett (Chap. 3.2), Pollock Jackson (Chap. 3.1), Purcell Henry (Chap. 3.3), Richter Hans (Chap. 2.1), Runge Philipp Otto (Chap. 1), Russell Morgan (Chap. 2.2), Ruttmann Walter (Chap. 2.1), Schaeffer Pierre (Chap. 3.3), Schillinger Joseph (Chap. 2.3), Schönberg Arnold (Chap. 2.2, 3.2), Stella Frank (Chap. 3.1), Strübin Robert (Chap. 3.1, 2.3), Toulouse-Lautrec Henri de (Chap. 2.1), Veronesi Luigi (Chap. 3.1, 2.3), Whitney John (Chap. 2.3), Xenakis Iannis (Chap. 3.3), Čiurlionis Mikalojus Konstantinas (Chap. 2.3)
Socialbodies
242.pilots (Chap. 2.4), John and James Whitney (Chap. 2.3)
Mentioned
Amorpha: Fugue in Two Colors (Chap. 2.1), Années de Pèlerinage (Years of Pilgrimage) (Chap. 1), Bach-Monument (Chap. 2.3), Broadway Boogie Woogie (Chap. 2.2), Chromatische Visualisierung: J. S. Bachs Kontrapunkt Nr. 2 aus ›Kunst der Fuge‹ (Chap. 2.3), Circularities (Chap. 2.2), Colours (Chap. 3.2), Composition with two coulor schemes (Chap. 2.2), Couleurs de la Cité céleste (Chap. 3.2), Creation Synchromy (Chap. 2.2), December 1952 (Chap. 3.1), Der Bachsänger (Chap. 2.3), Fantasia (Chap. 3.3), Five Film Exercises (Chap. 2.3), Fuge (Albers) (Chap. 2.3), Harmonielehre (Chap. 2.2), Hooloomooloo (Chap. 3.1), Horizontal-Vertikal-Orchestra (Chap. 2.1), Imaginary Places (Chap. 3.1), Intermission 4 (Chap. 3.1), Intermission 5 (Chap. 3.1, 3.2), Jazz (Chap. 2.2, 2.4), Lontano (Chap. 3.2), Malerei mit Zeit (Chap. 2.1), Miss Loïe Fuller (Chap. 2.1), Monument at the Border of the Fruit Country (Chap. 3.1), Musikbild J. S. Bach, Große Fuge g-Moll für Orgel (Chap. 2.3), Pictures at an Exhibition (Chap. 1), Prelude and Fugue (Chap. 2.3), Prometheus: The Poem of Fire (Chap. 3.2), Präludium (Chap. 2.3), Rhythm (Chap. 2.2), Sonata for Violin and Piano (Chap. 2.2), Sonatine II (red) (Chap. 2.2), Structure Ia (Chap. 3.1), Symphonie Diagonale (Chap. 2.3), Symphonische Dichtung Nr. 11 (Chap. 1), Synchromy (Chap. 2.2), The Four Times of Day (Chap. 1), Thorough bass in painting (Chap. 2.3), Victory Boogie-Woogie (Chap. 2.2), White Framed Polyphonically (Chap. 2.3), Williams Mix (Chap. 3.3), Windowpaintings (Chap. 2.2), frottages op. 70 (Chap. 3.3), o.T. (Chap. 2.1)
Keywords
Entgrenzung (Chap. 1, 2.1, 2.2, 3.3), Intermedialität (Chap. 2.2), Performativität (Chap. 2.4), Proportionstheorie (Chap. 2.3), Simultaneität (Chap. 2.3, 3.2), Verräumlichung (Chap. 3.1, 3.2), Verzeitlichung (Chap. 2.1, 2.3), Wechselspiel der Künste / Paragone (Chap. 1), collage (Chap. 3.3), counterpoint (Chap. 2.3), improvisation (Chap. 2.4), indeterminism (Chap. 3.1), montage (Chap. 3.3), notation (Chap. 2.3, 3.1), polyphony (Chap. 2.3, 3.2), rhythm (Chap. 2.1, 2.2)
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