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Books 371 Along with linking Delacroix with Chopin, Lockspeiser mentions that it would take the minds of many men of mathematical persuasion to investigate the claims of the followers of Schoenberg that they have found a way of reinterpreting the music of the past through the dodecaphonic and serial systems. It is in such statements as this scattered throughout the book that could well be found the keys to unlock the doors for artists to either investigate music and mathematics or to stimulate mathematicians and musicians to investigate these areas. In equating Turner, as the bearer of the ideas of the future, with Wagner’s sense of movement and symbols of the elements and with Debussy’s techniques of double focuses of visions and buried memories, he reveals the parallelism of the two arts. Two chapters are devoted to Baudelaire as a catalyst of his time, who mastered the dichotomies of that which is within reach, and at the same time slipping away and, in his self-destructive impulses, influenced most of the major composers of the 20th century. The complete text of Debussy’s unpublished libretto, without music, from Baudelaire’s translation of Poe’s Fall of the House of Usher, representing a painter suffering from an acute form of anxiety-hysteria as a result of a decaying civilization, reflects Baudelaire’s apocalyptic message. A reassessment of Goethe’s colour hypotheses, as being integral to the paintings of Turner and the compositions of Anton von Webern, is valuable. Lockspeiser also has brought to light a curious book called Duns Un Monde Sonore by Max Anely (pseudonym of Victor Segalen), which impressed Debussy and opened up new Orphic lines of thought in an unexplored domain in which the borderlands between the arts are revealed. It is in the appendices, previously published in music journals by the author, where the reader can explore offshoots of the different aspects of music-painting thought. One glimpses ideas such as instrumentation being equivalent to colors in painting via Berlioz. One learns that, though the musical relationships of the Greek modes by Poussin have been known to art historians, his attempts have not been investigated by musicians. In fact, there has been no agreement on the modes even among music historians. This, again, is an area that could be opened up to artists and scholars. One notes that Alban Berg, a remote disciple of Poussin, brought a Freudian posture to the sensual-spiritual aspects of an inner life. The section on Huysmans, Redon and Darwin compares Messian’s bird music with Redon’s fantasies, both involving primitive and symbolical worlds of the ancient tradition of the monster in art, as essentially of a musical orientation. The fact that Darwin’s theory of evolution formed the basis of a history of music by Jules Cambarieu leads one to wonder why the same approach has not been applied to the history of painting. Redon’s thoughts, as quoted from his Journal, that visual art springs from the provocative function of music, with its own rules of logic and the double and triple levels of its indeterminate regions, should be noted by painters. Lockspeiser ends his book by pointing out that, while the critics Ruskin and Wolfflin saw haziness and ambiguity as visual ideals, Chabrier, the composer, and Manet, the painter, saw clarity and precision as the ideals of music of the future. Indian Painters and White Patrons. J. J. Brody. Univ. of New Mexico Press, Albuquerque, 1971. 288 pp., illus. $15.00. Reviewed by LeRoy H. Appleton* The author has punched holes in the hypothesis that Indians of the Americas were alike, culturally and linguistically. In this well written, very readable and at the same time scholarly book, Brody points out also that so-called ‘Indian Art’ is a misnomer. When we speak of American Indian design, we are actually speaking of nothing more than an invention of the early white traders. *4 Pine Brook Drive, Larchmont, NY 10538, U.S.A. The author gives a more than adequate background by describing the different areas of Indian art development. He points out that the emphasis was always on content rather than on form. With the coming of...

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