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The subject of this study is the intersection points of music and fine art, demonstrated by the example of the creative interaction of the conceptual artist Marcel Duchamp and composer John Cage. The possibility of reformatting creativity from the visual to the sound field is considered as a role rotation, within which Duchamp appears as a composer, and Cage as an artist. An attempt is made to explain the motivation for such a choice. What is the meaning of this, and what do people mean when they choose this or that image for themselves, and create this or that image for themselves. How important it is to change the artistic image and creative image for the master. The methodology of the research consists in a comparative analysis of these concepts using already known works on this topic and personal observations of the author. In conceptualism, an idea is valued above the process of its materialization in a work of art, and therefore, the technique of execution is not a decisive factor. In such a creative paradigm, the artist's tools themselves become not so essential, which can be paints, a brush or other means of visual representation of the concept, as well as sheet music or a graphic score. The means of artistic expression - sounds or visual elements вЂ“ also turn out to be equivalent. All of them focus around the concept - the dominant point of any kind of creativity. This conclusion becomes the key for the conducted research in this article.  	

Creative rotation in conceptual art: Marcel Duchamp вЂ“ composer, John Cage вЂ“ artist