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case for the experimentalists' concepts—be comprehended and used in a practical way on the basis of everyday experience.
Media-artistic examinations of music time and again thematicize the intermediality of the acoustic experience. In the process, imbalances in the perception of everyday media life and the hierarchical relation between image and sound are questioned. The production, dissemination, and reception of music have changed since the introduction of electronic and digital media. Technical media as a common source of image and sound have stimulated a wealth of intermedia connections. What continues to be behind this is the centuries-old desire to fuse sensory impressions together into a synaesthetic experience.
Besides this explicitly art-synthetic approach, it is often overlooked that because of its special production and reception conditions, music actually already possesses intermedia characteristics. Musical practice of the twentieth century reflects these relationships, emphasizes them, or questions them in
that the concert is being enhanced by a variety of forms of visualization, and customary notation is being replaced by graphic symbols and visuallyinfluenced forms of interaction. Intermediality in music is therefore not a consequence of the advance of technology, rather it is a phenomenon which is inherent in music itself and which with the aid of media can be molded in particularly effective and diverse ways.