Studio International, 1976
“Although several contributions to this issue deal with aspects of music from the viewpoint of art, the main emphasis rests on experimental music in its own right. (We are happy to publish simultaneously with a new Audio Arts cassette conceived as an accompaniment to the articles printed here). Connections with art are highlighted in many different respects, and acknowledgement is duly given to the moments when the interests of music coincide with those of art and end up positively reinforcing their practitioners' convictions. But on the whole, the pages of the November/December Studio have been opened to a discussion primarily about music, and even when Michael Nyman devotes his wide-ranging article to the subject of 'Hearing/Seeing,' he is justifiably at pains to stress that 'to align (unnamed) music "movements" with (named) art movements... is both an impossible and dangerous game to play - the more so since there are parallels and connections (Cage/Rauschenberg, for example). If this editorial decision manages to dismiss the misconceptions fostered by Pater, and to replace them with a more realistic anti-formalist assessment of how music stands in the overall context of the contemporary arts, then an important aim of Studio's current programme will have been fulfilled.”Shelving
Painting,
Sculpture / Installation,
Sound / Music,
Minimal Art,
Fluxus