Mathematical music theory helps us investigate musical compositions in mathematical terms. Some hints can be extended towards the visual arts. Mathematical approaches can also help formalize a “translation” from the visual domain to the auditory one and vice versa. Thus, a visual artwork can be mathematically investigated, then translated into music. The final, refined musical rendition can be compared to the initial visual idea. Can an artistic idea be preserved through these changes of media? Can a non-trivial pattern be envisaged in an artwork, and then still be identified after the change of medium? Here, we consider a contemporary installation and an ensemble musical piece derived from it. We first mathematically investigate the installation, finding its patterns and structure, and then we compare them with structure and patterns of the musical composition. In particular, we apply two concepts of mathematical music theory, the Quantum GestART and the gestural similarity conjecture, to the analysis of Qwalala, realized for the Venice Biennale by Pae White, comparing it to its musical rendition in the homonymous piece for harp and ensemble composed by Federico Favali. Some sketches of generalizations follow, with the “Souvenir Theorem” and the “Art Conjecture.”

数学音乐理论帮助我们用数学术语研究音乐作品。一些提示可以扩展到视觉艺术。数学方法还可以帮助形式化从视觉领域到听觉领域的“翻译”，反之亦然。因此，可以对视觉艺术品进行数学研究，然后翻译为音乐。最终的，精致的音乐表现形式可以与最初的视觉效果进行比较。媒体的这些变化能否保留艺术思想？可以是非平凡的模式被设想在艺术品中，然后在更换媒介后仍被识别？在这里，我们考虑了一个当代装置和从中衍生出的合奏音乐作品。我们首先用数学方法研究该装置，找到其样式和结构，然后将它们与音乐作品的结构和样式进行比较。特别是，我们将数学音乐理论的两个概念，即Quantum GestART和手势相似性猜想，应用到Pae White为威尼斯双年展实现的Qwalala的分析中，并将其与竖琴和合奏同名作品中的音乐表现形式进行了比较。由Federico Favali撰写。随后是一些概括的草图，包括“纪念品定理”和“艺术猜想”。