The article covers some aspects of the problem of implementing of the complex “picturesque” in the musical composition of Morton Feldman. Through the prism of the “logic of sensations” — the central concept of a treatise by J. Deleuze Francis Bacon: Logique de la sensation — several aspects common to composer’s music and painting by representatives of abstract expressionism are considered: parallels in the perception of the act of creativity and in the approach to creating a composition, relation to the space-time factor, the relationship of a number of compositional elements technology. The ideas essential for the composition rhetoric of Feldman are emphasized: the “materiality” of the tactile component, the static of the sound process, the “sourceless” of the sound, the varied repetition and repetitiveness as the fundamental principles of working with “sound objects”. The form of the mediated influence of visual art on Feldman’s music is the transfer of potential correspondences to painting in the inner layers of a musical composition — to the level of structure and “texture” of the material.
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