20세기 음악과 회화에서의 푸가

The Fugue Reflected on Music and Painting in the Twentieth Century

In the first part of the 20th century musicologists and music theorists had great interests in the fugue as their main theme dealing with compositions. Their attempts are to establish the essence, identity, and evolution of the fugue in scientific and theoretic viewpoints. Some productive concerns for the fugue have impacted on the areas of painting and music. For painters the fugue has been brought to the fore as a theme in order to aim for pure, absolute, abstract, and constructive arts beyond the just revival of the object in the early 20th century. In particular the painters of that period tried to employ the fugue in conjunction with musical works as well as researches by musicologists and music theorists. In other words, based on its rules and principles, the fugue was understood as a pure and absolute contrapuntal music, reflected on art work and its theory. Especially the second Viennese School considered the fugue as the abstract music, which has something in common with paintings