ABSTRACT
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book talks about a strange triangular marriage between music, poetry and painting, which engendered what we still see as the great art of the 20th century in Western Europe. It shows in Music Writing Literature, there are certainly modern critical theorists who have been sensitive to the implications of post-Romantic analogies between the arts. Barthes and Derrida are among them. The author's exclusion is operated by seeing Paris as the international capital of the interart aesthetic. The first law of the interart aesthetic is that the work of art should properly be considered as an object, a thing, a new reality', as Stravinsky put it, and not as the conduit or vessel for any concept, message, emotion, or anecdote. The second law of the interart aesthetic is that between art in any two different media, any equivalence must always be incalculable.
