Shaw-Miller begins by discussing the place of Wagner's music and ideas at the time of the birth of modernism, presenting Wagner's aesthetic of the "Gesamtkunstwerk" as an alternative paradigm for modernist art. He goes on to analyze Picasso's use of musical subjects in his cubist works and Klee's adoption of music and the issue of temporality in his paintings and drawings. He concludes with the radical aesthetic of Cage, the silencing of sound, and the promotion of intermediality in the work of Fluxus artists. Through these examples, Shaw-Miller raises questions about both art and music history that should be of interest to students of both disciplines.
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