The visual arts and music interact with one another on both an individual scale (e.g. music-inspired synesthetes and artist-musician duos) and on a grand scale (e.g. the art movement Baroque, wherein abstract qualities such as “ornamentation” permeate both media). We develop a means to measure one of the many cross-modal similarities between music and visual art to reveal any direct influences ...

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the political, social, and religious conflicts between the church and the protestants during the renaissance and afterward gave a unique dimension to the works of a large number of european artists such as shakespeare. a few decades later, art critics defined this style under the rubric of baroque. the writers of this article conduct an explanatory analysis of shakespeare’s hamlet in the light ...

The paper reviews the socio-cultural consequences of border trade between Russia and China in Kyakhta 18th century, formation two regional architectural schools: temple baroque style Totma similar one Baikal region. development Russо-Chinese confessional cultural contacts including origin so called style, “cultural dialogue” Orthodoxy Buddhism region its reflection architecture Siberian Baroque...

This book considers Jesuit architecture through the lens of ‘propaganda’ and vice versa. Fascinated by apparent connections between Nazi propaganda and Jesuit architecture, Levy asks whether we might usefully think of early modern Jesuit architecture in terms of propaganda. Conversely, she suggests that National Socialist architecture was indebted to the Baroque: ‘That Speer and Hitler self-con...

This paper deals with the automatic estimation of key (keynote and mode) of a music track from the analysis of its audio signal. Such a system usually relies on a succession of processes, each one making hypotheses about either the signal content or the music content: spectral representation, mapping to chroma, decision about the global key of the music piece. We review here the underlying hypo...

INTRODUCTION Many of the extant notated dances from the early 18th century are throughcomposed. That is, their component step sequences are not repeated in relation to repeats in the music. Especially for more complicated theatre dances, repetition seems not to be the norm in baroque dance. Paradoxically, it appears that the more complicated a section of dance is, the less it bears repeating. Y...