Improvisation in music and plastic arts in Western art between 1945–1960

The aim of this thesis is to understand the concept of improvisation by comparing music and plastic arts in the history of Western Art. By choosing examples from the periods that are seen as important turning points in the formation of canons in the history of art and music, it is emphasized how the canons were formed with these examples and how they were violated from the end of the Second World War to the 1960s. The main purpose is not to present the periods and works chronologically, but; While tracing the concept under consideration, it was decided that it would be appropriate to take the narration from the earliest dates. Trying to see the relationship of the concept of improvisation with 'order' and 'chaos' aims to expand the framework of the study and to provide information about how chaos theory, chaos myth and order construction categorize the arts and then how this categorization is dispersed. The construction and destruction of order in the plastic arts, traced around the idea of improvisation, has also been examined in productions in the field of music. Plastic arts and musical works were examined until the specified date range; In the post-World War II period, the focus was on production in both areas.