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域到听觉域的“翻译”，反之亦然。因此，可以对视觉艺术品进行数学研究，然后将其转化为音乐。最终的、精致的音乐演绎可以与最初的视觉创意进行比较。一种艺术理念能否通过这些媒介的变化得以保留？可以有一个不平凡的模式被设想在一件艺术品中，然后在媒介改变后仍然被识别？在这里，我们考虑一个当代装置和一个由此衍生的合奏音乐作品。我们首先对装置进行数学研究，找到它的模式和结构，然后将它们与乐曲的结构和模式进行比较。特别是，我们将数学音乐理论的两个概念，Quantum GestART 和手势相似性猜想应用于由 Pae White 为威尼斯双年展实现的Qwalala的分析，并将其与竖琴和合奏的同名作品中的音乐演绎进行比较费德里科·法瓦利作曲。接下来是一些概括的草图，以及“纪念品定理”和“艺术猜想”。