Humanities

The period "Composition" can suggest a metaphor with music. Kandinsky was enthralled by music's emotional power. Because melodies expresses itself through sound and time, it permits the listener a flexibility of fantasy, understanding, and emotional answer that is not founded on the literal or the descriptive, but rather on the abstract value that decorating, still reliant on comprising the evident world, could not provide. (Messer & MVasily 8)

 "Kandinsky's exceptional comprehending of the affinities between decorating and melodies and his conviction in the Gesamtkunstwerk, or the total work of art, came forward in his text "On Stage Composition," his play "Yellow Sound," and his portfolio of prose verses and publishes Klange (Sounds, 1913). Music can reply and apply exactly to the artist's "internal element" and articulate religious standards, therefore for Kandinsky it is a more sophisticated art. In his writings Kandinsky emphasizes this superiority in accelerating in the direction of what he calls the epoch of the large spiritual. (Kandinsky & María 45)

 "Wagner's Lohengrin, which had mixed Kandinsky to dedicate his life to art, had assured him of the emotional forces of music. The presentation conjured for him visions of a certain time in Moscow that he affiliated with exact colors and emotions. It motivated in him a sense of a fairy-tale hour of Moscow, which habitually stayed the beloved town of his childhood. His recollection of the Wagner presentation attests to how it had retrieved a vivid and convoluted mesh of strong sentiments and recollections from his past: "The violins, the deep pitch of the basses, and particularly the breeze devices at that time embodied for me all the power of that pre-nocturnal hour. I glimpsed all my colors in my mind; they stood before my eyes. Wild, nearly absurd lines were sketched in front of me. I did not challenge use the sign that Wagnet had decorated 'my hour' musically." (Messer & MVasily 10)

 "It was at this exceptional instant that Kandinsky recognized the marvellous power that art could use over the spectator and that decorating could evolve forces matching to those of music. He sensed exceptional affinity to Wagner, whose melodies was substantially adored by the Symbolists for its concept of Gesamtkunstwerk that adopted phrase, melodies, and the visual creative pursuits and was best embodied in Wagner's The Ring of the Nibelung, with its climax of international cataclysm. One can furthermore presume that Kandinsky, philosophically a progeny of the German ...