clay/tone art is an outdated expression in the German language for art music, in 19. Century frequently in music-historical and music-aesthetic representations was used. It developed probably from the need to grant to the music a place under the classical arts (architecture , sculpture , painting , Prosa , poetry) and furthermore to recognize the composer ( = clay/tone artist) as a creative individual. The expressions are for example on the inscriptions in the 1842 established Walhalla: there about Joseph Haydn is called as „Doctor of the clay/tone art “.
In the same context also the term clay packing ( not to confound with Sinfoni seal, although these two terms are often also synonymously used) stood as a sign for a composition, which had overcome (low) the status of customs music, when art music was additionally recognized and to the nobilitablen Ambiente was close to the poetry. For which works this was applicable, was however estimation thing. Same applied to the expression clay/tone poet, who granted a special artistic rank, quasi as a poet, to the composer. In this connection also the then frequent honor of composers with laurel rings, in analogy to the poet coronation/culmination stood.
Further related expressions were clay/tone creation, clay/tone painting, clay/tone painter (see however: Clay/tone painting) and sound paintings. The latters referred in particular to one associatively or text conditioned connection of visual and auditiven sensory impressions. From there ago agitated for instance the comparisons of Weltuntergangsfresken with this irae - Vertonungen (see also: Synästhesie).
Special attention earns also the expression sound architecture, for which in direct connection with historicism stood and in metaphorical formulations expressed itself („brook of gothical cathedrals “as name for brook joint compositions).