Acknowledgements. The Theme. Section One: Music, Literature, History, Decoration, Staging, Painting. Within the Symphony of the Arts. Paradox and Metaphor: an Integrity of the Arts; L. Kimmel. Aesthetic Symbiosis and Spiritual Quest: Gruenewald's Isenheim Altarpiece in the Hindemith Opera `Mathis der Maler'; S. Bruin. The Ambiguity of Baroque Enchantment: Operatic Mise en Abime; H. Josephs. The Musicalisation of Prose: Prolegomena in the Experience of Literature in Musical Form; W.E. Grim. Calderon's Dramatic Technique: The Orchestration of the Arts from Drama to Opera; D. Souiller. Baroque Splendor: Vierzehnheilige Church and Bach's B Minor Mass; S. Hoople. Section Two: Sharing in Creative and Cosmic Synergies. Orchestration of the Universe: Reflections on Tagore's Creativity; S. Ray. The Synergies of Mind and Muse: A Comparative Analysis of Dante Gabriel Rosetti's the Blessed Damozel and Claude Debussy's La Demoiselle Elue; S. Coelsch-Foisner. The Interdependence of Literature, Architecture, Theater and Music as an Expression of Baroque Absolutism at the Habsburg Court in Vienna; G. Scholz. Literature and Architecture as a Metaphor of `Grandeur' and `Decadence'; M.-O. Sweetser. Louis Sullivan: The Life Enhancing Symbiosis of Music, Language, Architecture and Ornament; R. Etlin. The Orchestration of the Arts in Wallace Stevens' `Peter Quince at the Clavier'; S. Feshbach. Section Three: The Symbiosis and the Interaction of the Arts. The Harmonie Conceit: Music, Nature, and Mind in Wordsworth's Prelude; J. Smart. Artists' Interpretation of La Fontaine's Fables; W. Roberts. `Histoire de l'Aveugle': Manierisme Critique of Vision; R. Perry. The Apocalypse Revised by Twentieth Century Artists; R. Hubert. Toward a Visual Aesthetic of Music; P. Herzog. Images of Water and the Sea in Tristan L'Hermit's `La mer' and in Painting; C. Ruoff. Section Four: Arts Interacting with our Perception of Nature and Human Life. Fire and Ice: Le ver magique, le vrai magique; P. Trutty-Coohill. W.E.B. du Bois `The Souls of the Black Folks'; R.G. Schafler. The Blending of Natures and the Perception of the Real; T. Raczka. The Symbiosis and the Interaction of the Arts: Cesario Verde; N. Campi de Castro. This is Mine and I can Hold it: Edna St. Vincent Millay and her Music; K. Karbiener. Section Five: The Poetic Inter-Reflection of the Arts. The Terpsichordian Poem; L.D. San. A Study in Nostalgia: The Orchestration of Life in Facade. The William Walton Edith Sitwell Musical Poetic Collaboration; G. Tibbetts. Interreflection of Complementary Expressive Means in Combined Media Art Performances; L. Voronina. The Orchestration of the Arts in Sheila Sebbar's Sheherazade; E. McCullough. Beauty as a Cipher of the Orchestration of the Arts in Gadamer; O. Rossi. Section Six: Arts Nurturing Human Culture. A Look at Modernism from the Keyboard: The Piano in the Parlor and Abstract Art; E.N. Van Liere. Pierre Puvis de Chavannes, Richard Wagner and Emil Bernard: Composition and Meaning in the Late Nineteenth Century; D. Trousdale. The Temporal Character of Catherine Schieve's Slide Opera; K.F. Volkmar. An Unfolding of Theory and Practice: From Ingarden to a Phenomenological Aesthetic for Opera; E.J. Burns. Emotion, Metaphor, Music, and Humor; W. Shibles. The Cultural Milieu of Francis Poulenc (1899-1963) and his `Musique de tous les jours'; S. Weaver. Index of Names.