The idea that music can be interpreted as space, color and form has a tradition in art that dates back at least to the 16th century.

It sets the basis for a visual interpretation of music in figurative art by identifying correspondences between form/color on one side and sound structures on the other.

The first article hereby presented [and soon to be translated] attempts e brief survey of the history of the idea of visual music and the related concept of synaesthesia.

It points also to possible developments and experimentation in an artform destined to conquer the centerstage of future art culture: perhaps like painting was at the twilight of the middle ages.

The second article presents a more specific method of visual interpretation based on figurative landscape as metaphor of music and its "resonant" environment. [ see also "music as lanscape"]

The athmospheric, land and water masses offer an architecture of forms always varied and in constant motion:

cirrus, cumulus clouds,
highlights and shadows playing upon terrain, water, vegetation
a richness of everchanging chromatic effects,
color registers for day, night, and the shifting of seasons ...

Landscpe seems to capture in the visual world the phenomenology of music.

Such method of interpretation is named "Caspar", in homage to Caspar David Friedrich: highest romantic painter of landscape as representation of the inner self.