Na primeira metade do século XIX, o compositor alemão Felix Mendelssohn publicou uma série de peças para piano solo denominada Canções sem Palavras. A discussão sobre o experimento de Mendelssohn acarreta reflexões sobre as relações entre texto, música e artes em contato. A partir da ideia de livro como modelagem do mundo, este artigo explicita implicações estéticas e performativas deste experimento.
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