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Relevant bibliographies by topics / Musical iconography

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Academic literature on the topic 'Musical iconography'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Musical iconography"

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Bordas, Cristina. "Musical iconography in Spain." Early Music XXV, no. 2 (May 1997): 335–36. http://dx.doi.org/10.1093/earlyj/xxv.2.335.

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Fabris, D. "Musical iconography in Ravenna." Early Music 35, no. 1 (January 16, 2007): 163–64. http://dx.doi.org/10.1093/em/cal116.

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Shchetynsky, O. S. "Musical iconography of Annunciation: personal experience." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 74–89. http://dx.doi.org/10.34064/khnum2-17.05.

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Background. The objective of the article is to analyze the interaction, for sake of artistic unity of a work, of the musical, textural and theatrical structures and solutions in the contemporary opera as in a synthetic genre. The author uses his chamber opera “Annunciation” as an example of these processes and shows the ways certain dramatic and theatrical ideas determine musical solutions. Although since the middle of the 19th century composers sometimes wrote an opera text themselves, the common case was still a collaboration of two (sometimes more) creators: a composer and a librettist, each of them being an expert in their own particular field. Their collaboration and mutual flexibility are of great importance, especially at the initial phase of creation, when a composer makes a decision concerning fundamental features and structures of a future work. Since an opera libretto often consists of the fragments borrowed from previously created texts, a composer should comprehend the libretto in its new integrity. Understanding dramatic intentions of a librettist is extremely important, too. On the other hand, a good libretto should contain some elements of incompleteness (let’s call it “dramatic gaping”) to ensure the composer’s freedom in building musical forms and to encourage him / her to elaborate self-own personal solutions both in musical and dramatic (theatrical) fields. The results of the research. The text of Alexander Shchetynsky’s chamber opera, “Annunciation”, is inspired by the dialogue described in Chapter 1 of St. Luke’s Gospel between the Virgin Mary and the Angel Gabriel, who announced about future birth of Jesus Christ the Son of God. Gradual transformation of Mary who prepares to become the mother of God forms the action. Since both characters are positive and no conflict is developed between them, dramatic tension appears basing on the contrast between Mary’s happiness, when she hears the message, and the presentiment of her own and her Son’s future tragedy. Instrumental scoring (piano, celesta and metal percussion) is in no way the klavier variant, but the only possible version for performance of this opera. Percussion instruments, played by the pianist and partly by the singer, symbolize the Heaven. The pianist plays the grand piano, which stays at the stage. He is not a common accompanist but the second character (the Angel Gabriel) taking a direct part in the stage action, so the sounds of the piano is Angel’s secret speech. The idea to shape two characters with totally different means was suggested by the librettist Alexey Parin. His concept of putting the speech of the Angel not into a human voice but into the wordless “voice” of an instrument looked extremely promising and innovative. This “secret utterance” of the Angel, then, became the starting point of the opera and the source of its genre definition: the stage dialogues without accompaniment. The structure of the work is as follows (all the episodes go one after another without a break). Episode 1. “Presentiment” (aria). Mary is occupied with the spinning wheel. The Angel has not yet come, only the tinkling of percussion instruments hints at grace descending upon Mary. Episode 2. “Whiff “(recitative). The Angel is entering. The mood is strange, unreal, as if in a dream, when the common logic of action is broken. Episode 3. “Good Word” (scene). The first dramatic climax. The piano part is resembling a choir singing, which Mary is understanding and answering to it. The general mood of the music is tragic: it is the presentiment of a terrible ordeal and human grief awaiting Mary. Episode 4. “Ecstasy” (aria). The Immaculate Conception. The climax is of lofty, lyrical substance. There is free soaring of the voice and feeling of the miracle and happiness. Episode 5. “Fear” (scene). The second dramatic climax: Mary has been realizing her future. The vocal style is unstable; recitation and Sprechgesang follow cantabile closely. Episode 6. “Farewell” (aria). Happiness mixed with bitter presentiments. At the very end the music resembles a lullaby. The musical language of the opera does not contain any elements of traditional Church music. This is spiritual music intended for the theatre or concert performance, without any allusion to Divine Service. In style the work tends toward musical modernism and 20th century avantgarde, with their attributes of atonality and modality, rhythmical complication, emancipation of timbre component and dissonances. The latter were used both in atonal and modal context. Both horizontal and vertical elements of the texture have their common roots in several micro-thematic interval structures, exactly, in the combinations of a triton and minor second (including octave transpositions, the major seventh and minor ninth). These structures form the common basement of all musical components and lead to thematic unity of the opera. Despite the modernistic orientation, cantabile style prevails in the soprano part, making use of various types of singing such as recitation, arioso, parlando, Sprechgesang, whisper, and others. Conclusion. The musical solutions in “Annunciation” appear as a consequence and elaboration of the dramatic concept of libretto. Analysis of its peculiarities led to forming their musical equivalents, which helped to achieve the integrity of all the main components of the work.

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Sillars, S. J. "MUSICAL ICONOGRAPHY IN THE BEGGAR'S OPERA?" Journal for Eighteenth-Century Studies 1, no. 3 (October 1, 2008): 182–85. http://dx.doi.org/10.1111/j.1754-0208.1978.tb00361.x.

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Luengo, Pedro. "Mestizo Musical Iconography: Manila’s Santo Niño Cradle." Cultural and Social History 16, no. 4 (July 26, 2019): 509–24. http://dx.doi.org/10.1080/14780038.2019.1646067.

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Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval 31 (December 14, 2018): 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.

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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harshly condemned by Christian writers. Strange instruments made out of everyday objects like grills and distaffs, or ‘exotic’ animals like peacocks, mingle in the grotesque underworld of marginal miniatures, in which the noble art of music is often replaced by the cacophonous noises suggested by the devil.

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Lee, You-Jung. "A Study on the Musical Iconography Consideration of Yanggeum." Journal of the Korea Entertainment Industry Association 14, no. 2 (February 29, 2020): 85–95. http://dx.doi.org/10.21184/jkeia.2020.2.14.2.85.

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Myers, Arnold, and Zdravko Blazekovic. "RIdIM/RCMI (Repertoire International d'Iconographie Musicale/New York Research Center for Musical Iconography) Newsletter." Galpin Society Journal 50 (March 1997): 251. http://dx.doi.org/10.2307/842581.

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Bank, Katie. "(Re)creating the Eglantine Table." Early Music 48, no. 3 (August 1, 2020): 359–76. http://dx.doi.org/10.1093/em/caaa051.

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Abstract The Eglantine Table at Hardwick Hall (c.1568) was probably crafted to commemorate marriages made between the Hardwick-Cavendish and Talbot families. In addition to various heraldic symbols, the table’s friezes depict gaming paraphernalia, thirteen musical instruments, and several music books, including a stacked score of a devotional song by Thomas Tallis: ‘O Lord, in thee is all my trust’. While there is thorough existing scholarship on what the Eglantine Table depicts, this article explores what can be inferred about the contemporary value of musical recreation from how meaning was produced in the table’s iconography using a ‘material approach’ to music as both an object and also a sounding body. This article demonstrates why recreation, including music-making, is defined most prominently by why people choose to engage in it and the human actions that make recreation happen. Viewed in this fresh light, the Eglantine Table, including its musical iconography and notation, offers insight into the meaning of musical recreation and the values that shaped domestic interiors, objects and social bonds in an early modern English aristocratic home.

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Steblin, Rita. "The Gender Stereotyping of Musical Instruments in the Western Tradition." Canadian University Music Review 16, no. 1 (March 1, 2013): 128–44. http://dx.doi.org/10.7202/1014420ar.

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The sexual stereotyping of musical instruments in Italian, German, and English society from the beginning of the Renaissance period to the end of the nineteenth century is the object of this essay. Through evidence gleaned from iconography and a variety of written documents, the author demonstrates how the gender association of musical instruments virtually eliminated female participation from important musical activities, ensuring the male domination of the art and preventing women from becoming prominent composers.

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Dissertations / Theses on the topic "Musical iconography"

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Green, David M. "The depiction of musical instruments in Italian Renaissance painting." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241296.

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Pyle, Sarah. "Interdisciplinary Approaches to Musical Portraiture of the Late Renaissance and Early Baroque: Reading Musical Portraits as Gendered Dialogues." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18742.

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Sixteenth- and seventeenth-century portraits from the Italian peninsula that depict women with keyboard instruments have been discussed as an apparent trend by feminist art historians and musicologists. While the connection between these portraits and the well-known iconography of the musical St. Cecilia has been noted, the association between keyboard instruments and the female body has been less frequently explored. In this study, I use methodologies from feminist theory and gender studies, most notably gender performativity, in order to explore how an artist's dialogue between the portrait subject and her instrument creates and is created by complex relationships ingrained by the dominant patriarchal structures that circumscribed women's lives at the time. To realize these interpretive goals, I have chosen two paintings that are less often discussed in art historical and musicological literature: the self-portrait attributed to Marietta Robusti, and St. Cecilia Playing the Keyboard in the style of Artemisia Gentileschi.

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Esteve, Marull Vanessa. "Representacions musicals en la pintura catalana dels segles XVII i XVIII." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/387422.

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Aquesta tesi doctoral té com a principal objectiu fer un estudi iconogràfic de diferents pintures, escultures i gravats catalans dels segles XVII i XVIII que tenen com a tema principal o secundari la música com a representació. A través l’anàlisi de les fonts documentals que parlen de música, es fa una descripció del context socio-cultural que va influir en l’elaboració d’aquests programes iconogràfics. Es tracta d’un anàlisi historiogràfic nou que reflexiona sobre la iconografia musical com a disciplina, i serveix per fer una aproximació inèdita al context de l’època que representen aquestes obres d’art i a les intencions dels seus artistes i mescenes. Per a la descripció d’aquestes imatges s’han manejat una seixantena d’imatges i s’ha reconstruit el paper de la música en diferents situacions i contextos socials. Divida en dues parts, la primera part fa referència a les imatges iconograficomusicals amb contingut religiós. S’han estudiat els àngels músics d’època barroca que es troben representats en alguns retaules catalans, representacions de sants amb atributs musicals i les representacions originals i úniques de l’Escolania de Montserrat. Per altra banda, la segona part de la tesi està dedicada a les imatges promogudes per la monarquia, la noblesa i la burgesia. S’han estudiat els principals temes on la música i l’art s’han desenvolupat com activitats d’oci i entreteniment. Es tracta tant d’esbossos i dibuixos de creació amb escenes de gènere com imatges al·legòriques que commemoren el poder polític. Per primera vegada es fa una lectura d’aquests programes iconogràfics, posant especial atenció a la simbologia, la organologia i les corrents artístiques que han circulat per Catalunya al llarg d’aquests segles. Això ens ha portat a descriure, de forma paral·lela, alguns esdeveniments històrics de Catalunya, com ara l’arribada de l’arxiduc Carles d’Àustria a Barcelona, la visita de Carles III i les primeres representacions operístiques catalanes. D’aquesta manera, aquesta tesi doctoral és un complement als estudis històrics i musicològics que s’han realitzat fins ara i esdevé una nova font documental per il·lustrar i entendre el paper de la música dins la societat catalana.
The principal aim of this doctoral thesis is to carry out an iconographic study of different Catalan paintings, sculptures and prints from the seventeenth and eighteenth centuries that have music as performance as their primary or secondary theme. A description of the socio-cultural context influencing these iconographic programmes is made following analysis of documentary sources which talk about music. This is a new historiographical analysis which reflects on musical iconography as a discipline and, for the first time, allows the context of the age which these works represent and the intentions of their artists and patrons to be addressed. Around sixty images have been used for the description which reconstructs the role of music in different situations and social contexts. It is divided into two parts: the first refers to the iconographical-musical images with religious content. The musical angels of the Baroque period found on some Catalan altarpieces, representations of saints with musical attributes and original and unique representations from the Escolania de Montserrat are studied in this section. The second part of the thesis is dedicated to the images promoted by the monarchy, the nobility and the bourgeoisie. The main themes in which music and art have become activities of leisure and entertainment are studied. In other words, the creative sketches and drawings with genre scenes such as allegorical images commemorating political power. For the first time a reading is made of these iconographic programmes, with a special focus on the symbology, organology and the artistic trends circulating around Catalonia during those centuries. This has led to a parallel description of some of the historic events in Catalonia, such as the arrival in Barcelona of Archduke Charles of Austria, the visit by Charles III and the first performances of Catalan operatic works. This doctoral thesis is therefore a complement to the historical and musicological studies that have been carried out to date and a new documentary source to illustrate and understand the role of music in Catalan society.

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Delarole, Pedro Juliano. "O conservatório dramático e musical Dr. Carlos de Campos de Tatuí como difusor cultural." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-20052013-162348/.

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O delineamento desta pesquisa deu-se a partir da busca de informações históricas sobre as origens musicais da cidade de Tatuí - SP e da análise sócio-cultural da contribuição da música na sociedade local. Desta busca resultou o resgate das origens do Conservatório Dramático e Musical \"Dr. Carlos de Campos\" de Tatuí, enquanto organização e instituição estadual pública de educação musical formal. Como observador de uma organização que nasce da tradição musical de Tatuí e pelo envolvimento direto com esta escola - a problemática de pesquisa surge na reconstituição histórica da memória da instituição.
The design of this work starts at the search for historical data about the musical roots in Tatuí City -São Paulo - Brazil and from the social and cultural analysis on the contribution of music to the local society. Of this search resulted the rescue of the origins of the Dramatical and Musical Conservatory Dr. Carlos de Campos of Tatuí, while organization and public state institution of formal musical education. As a direct observer of an organization that was rised through the musical tradition of Tatuí, and for the direct evolvement with this school - the issue of this research appears from the institution\'s historical and memory rebuilding.

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Macalossi, Ângela Marina. "Fotografia e memória: o acervo Inah Emil Martensen nas décadas 1940-1950." Universidade Federal de Pelotas, 2012. http://repositorio.ufpel.edu.br/handle/ri/1038.

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Made available in DSpace on 2014-08-20T13:20:48Z (GMT). No. of bitstreams: 1 Angela_Marina_Macalossi_Dissertacao.pdf: 6477618 bytes, checksum: 2580133f9b6401ec5f9dfaba7342c21f (MD5) Previous issue date: 2012-03-30
The research presented here concerns the matters ofanalysis and reading of pictures of a group of 26 artists whose artwork belong to the Municipal Photographic Library Ricardo Giovannini, at the city of Rio Grande, Rio Grande do Sul, Brazil. The pictures are part of the Inah Emil Martensen's Collection. The name of the collection is a tribute to one of the most distinguished persons of the cultural scene in Rio Grande at the 19th century. We will explain more about her relevance in this study. According to oral reports, we can infer that Inah Emil Martensen was a very important and activeperson in the artistic and cultural life of Rio Grande. Inah Emil Martensen acted as artist, influent woman, teacher, manager and event promoter. It was becauseof her relevance for the community that the Municipal Center of Culture was named after her, it is now called Municipal Center of Culture Inah Emil Martensen. In addition of a brief incursion into the universe of this emblematic figure in the history of Rio Grande, this research will examine more specifically the pictures of the 26 artists who were likely exhibiting in this municipality between 1940 and 1950. The photographs made this collection, once unknown,recognized and prominent among the community and the researchers. This study is about the subject of reading historical photographs, discussing documents as memory support and, consequently, as source of research
A pesquisa aqui apresentada diz respeito às questões de análise e leitura de imagens fotográficas de um grupo de 26 artistas pertencente à Fototeca Municipal Ricardo Giovannini na cidade do Rio Grande-RS, inseridas na coleção intitulada Inah Emil Martensen, em homenagem a uma das figuras mais representativas da cultura riograndina no século XIX que será abordada em segundo plano em nosso trabalho. Segundo relatosorais, pode-se deduzir que Inah Emil Martensen foi uma pessoa de grande participação e importância para a vida cultural e artística da cidade atuando como artista, mulher, professora, gestora e promotora de eventos. E foi justamente por conta de sua relevância para a sociedade da época que o Centro Municipal de Cultura Inah Emil Martensen homenageou-a adotando o seu nome. Além de uma rápida incursão no universo desta figura emblemática na história de Rio Grande, essa pesquisa debruçar-se-á mais especificamente sobre as fotos dos artistas que possivelmente estiveram apresentando-se neste município entre as décadas de 1940 e 1950, fazendo com que essa coleção, antes desconhecida ou não tratada como tal, possa ganhar destaque e reconhecimento da comunidade e dos pesquisadores. Este estudo cerca o tema de leitura de imagens fotográficas de natureza histórica, com a discussãosobre documentos como suporte de memória e, consequentemente, como fonte para pesquisa

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Hassid, Sarah. "L'imaginaire musical et la peinture en France entre 1791 et 1863 : mythes, pratiques et discours." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H065.

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Durant une large première moitié du dix-neuvième siècle, la musique est érigée en modèle poétique et esthétique. Elle met les artistes au défi d’un idéal invisible, impalpable et éphémère. Du Sommeil d’Endymion de Girodet à la Jeune fille en blanc de Whistler, cette étude tente de comprendre l’origine, les raisons, ainsi que les modalités du dialogue qui s’est opéré, en France, entre un imaginaire sonore revivifié et le domaine pictural. Elle s’attache à en dégager les mythes fondateurs et les expressions concrètes au sein des œuvres, des pratiques et des discours. De Sainte Cécile au poète civilisateur et au musicien virtuose, l’art des sons est incarné par des figures inspirées ou possédées qui contribuent à modeler une nouvelle image de l’artiste. À mesure qu’elle s’affirme comme un phare au sein des Beaux-arts, la musique offre, de plus, des arguments originaux, en faveur d’une régulation ou, au contraire, d’une subversion des pratiques. Les modes d’appropriation qui naissent de ce nouveau paragone révèlent deux grandes tendances. Dès le début des années 1790, plusieurs artistes comme Valenciennes, David, Girodet ou encore Prud’hon s’emparent d’un idéal sonore mythique pour fonder une veine lyrique. Celle-ci se caractérise par des sujets sentimentaux, un essor du paysage, un culte voué à la manière vaporeuse du Corrège ou encore par la représentation de drames intériorisés. Une autre forme de musicalité picturale s’épanouit à partir des années 1820. Elle se traduit par une valorisation de la main du peintre, envisagée selon un rapport d’imitation et de rivalité avec celle du musicien. De Vernet à Ingres et à Delacroix, la “signature” de l’artiste s’exprime sur la toile, par le degré de fini de ses interprétations ou sa manière « symphonique » d’agencer les formes et les couleurs, indépendamment des contingences mimétiques. Absorbées, dès les années 1860, dans le giron baudelairien et wagnérien, cette passion artistique et les musicalités spéculatives qu’elle a générée semblent offrir, une fois mise au jour, un nouveau prisme pour ré-explorer le romantisme pictural et son historiographie
Throughout the first half of the 19th century, broadly-defined, music is instituted as a poetic and aesthetic model. Artists are challenged by its invisible, impalpable and ephemeral ideal. From The Sleep of Endymion by Girodet to The White Girl by Whistler, this thesis focuses on understanding the origins, the rationale as well as the different aspects of the dialogue that took place in France between a revivified musical imaginary and the field of painting. It aims at extracting its founding myths and its concrete manifestations in works, expressions, and discourses. From Saint Cecilia to the civilising poet to the musical virtuoso, the art of sounds is personified by inspirited or captivated figures who contribute to model a new image of the artist. Moreover, as it gradually becomes considered as a guiding light for the Fine arts, music offers original arguments in favour of regulating or, alternatively, subverting artistic techniques. The different modes of appropriation rising from this new paragone unveil two main tendencies. As early as the beginning of the 1790s, several artists like Valenciennes, David, Girodet or Prud'hon use a mythical ideal of music to lay the foundations for their lyricism. This lyricism is characterised by sentimental subject matters, an increase in landscape productions, a passion for Correggio’s misty manner or the representation of inner dramas. Another form of pictorial musicality arises from the 1820s onwards. It materialises through a positive re-evaluation of the painter's hand, either in emulation of or as a rival to the musician's. From Vernet to Ingres to Delacroix, the degree of finish of the artist’s interpretations or his “symphonic” manner to arrange shapes and colours, regardless of mimetic contingencies, express his “signature” on the canvas. Absorbed from the 1860s by the followers of Baudelaire and Wagner, this artistic passion and the speculative musicalities it generated seem to offer, once put to light, a new avenue to explore pictorial Romanticism and its historiography

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Ziegel, Aaron B. "Opening “the Door to This Intense and Passionate Musical Life”: A Survey of The Music of the Modern World, 1895–1897." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153238384.

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Ferras, Mélanie. "Pratiques musicales et sonores des Andes centrales préhispaniques : une contextualisation archéologique et sociale." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL183.

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La musique andine préhispanique a fait l’objet de nombreuses études, majoritairement musicologiques. Ce travail doctoral propose une analyse différente, avec une approche archéologique du phénomène, afin d’obtenir une contextualisation des pratiques musicales et sonores des Andes centrales préhispaniques. C’est à partir de l’analyse des contextes archéologiques que peut être appréhendé le rôle des artefacts qui y ont été déposés, et par là même des pratiques culturelles auxquelles ils se rattachent. Ce constat s’applique aux pratiques musicales et sonores afin de mettre en lumière, non pas tant leurs formes organologiques et acoustiques, mais leurs aspects sociaux. Les pratiques culturelles n’étant pas figées dans le temps et dans l’espace, elles sont traitées de manière panoramique depuis l’Archaïque moyen (4ᵉmillénaire av. J.-C.) jusqu’à la fin de l’Horizon tardif (1532 ap. J.-C.) pour montrer leurs évolutions. Divers niveaux de contextualisation sont développés, allant du contexte archéologique aux contextes sociaux, cosmologiques et symboliques. Ils permettent de montrer qu’extraites du maillage social dans lequel elles s’inséraient, les pratiques musicales et sonores perdent tout leur sens, puisque celui-ci se fonde sur un jeu continu de correspondances avec d’autres concepts andins préhispaniques. L’étude de cas particulier des pututus constitue une application approfondie et détaillée de notre méthodologie d’analyse et met en avant le rôle primordial du son dans les sociétés des Andes centrales préhispaniques
Prehispanic Andean music has been the subject of numerous studies, predominantly musicological. This doctoral work offers a different analysis, taking an archaeological approach to contextualize musical and sonic practices from the Prehispanic central Andes. It is from archaeological contextual analyses that the roles of sound-related artifacts can be understood, to thereby infer the cultural practices related to these artifacts. Thia assessment, applied to musical and sonic practices, highlights not their organological and acoustical forms, but rather their social relevance. Because cultural practices are not immobilized in time and space, they are treated panoramically from the Middle Archaic Period (4th millenary BCE) to the end of Late Horizon (1532 CE), to show their diachronic evolution. Different contextualizations are developed and compared, from the archaeological to the social, cosmological and symbolical. These complementary perspectives show that, outside of the social network in which they operated, past musical and sonic practices lose all their meaning, because they are based on a perpetual set of correspondences with other Prehispanic Andean concepts. The particular case study of pututus constitutes a deep and detailed application of my analytical methodology, and points out the primordial part of sound in Prehispanic central Andes societies

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Fresquet, Xavier. "Les cithares-planche médiévales : organologie, reconstitution et translatio musicae." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040074.

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Développée à partir d’un corpus documentaire de plus de 200 représentations iconographiques réparties entre le IXe et le XVe siècle, cette thèse s’appuie aussi sur des sources musicales en latin et des éléments pris dans la littérature profane médiévale en langues vernaculaires. Ce travail de recherche est réuni et organisé dans une base de données qui s’articule à la thèse tout au long de l’argumentation. La description de ce corpus et de la création de cet outil forme la première partie de cette thèse. Une deuxième partie, consacrée à l’étude organologique physique des instruments, vise à proposer un discours objectif sur la nature de l’instrument et de ses éléments constitutifs : formes, cordes, chevilles, chevalets, modes de jeux, tenues etc. Cette partie se termine par un exercice de reconstitution organologique. Une troisième partie étudie l’image sociale et symbolique des instruments en essayant d’englober l’ensemble des discours associés aux cithares planche autour de la notion de translatio propre à la littérature médiévale, que l’on nommera alors translatio musicae. L’ensemble du travail réalisé permettra de former en conclusion une proposition de classification instrumentale propre aux cithares planche médiévales, qui pourra être éventuellement adaptée à l’étude d’autres instruments de musique
Developed from a corpus of over 200 iconographical sources divided between the 9th and the 15th century, this thesis also draws on Latin sources in and musical elements taken from the medieval secular literature written in vernacular languages. This research is compiled and organized inside a database articulated to the thesis throughout the argument. The description of this documentary corpus and the creation of this specific tool are given in the first part of this dissertation. A second part, devoted to the study of physical characteristics of these instruments, aims to provide an objective discourse on the nature of the instrument and its components: forms, strings, pins, holding manners, playing modes, etc. This part ends with an instrumental reconstitution exercise. A third part examines the social image and symbolic image of the instruments trying to encompass all speech – both literary and visual – related to the board zithers around the medieval notion of translatio, which will be in this particular case called translatio musicae. This work will conclude with a proposition of a specific organological classification for medieval board zithers, which might possibly be adapted to the study of other musical instruments

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Kolotourou, Aikaterini. "A typological and iconographic investigation of musical instruments in Iron Age Greece and Cyprus (11th-7th centuries BC)." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/24790.

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Musical imagery provides an iconographic link between the Late Bronze Age and the passage to the Early Iron Age in Greece and Cyprus. The thematic link provided by this particular genre is very important because of the semantic value of musical scenes. The performance of music as a patterned behaviour is associated with fundamental patterns of behaviour such as ritual. In addition, like all forms of art, the creation and performance of music is a social act closely linked to other social events, groups of people, hierarchies, and the beliefs and trends of a given society. Therefore, the creation of a musical scene alluding to actual experiences of musical performances is automatically a reference to these sets of concepts, irrespective of whether an image is representing a specific performance or not. This thesis examines the iconography of musical instruments in Greece and Cyprus from the 11^th to the 7^th centuries BC. The work focuses on all types of artefacts with musical iconography, including two- and three-dimensional representations. In order to analyse the musical scenes, the first step is to establish a typology of Greek and Cypriote musical instruments in connection with the current ethnomusicological research and organological classification systems. Following the instrumental analysis, further iconographical issues such as style, compositional syntax and the individual motifs of an image are dealt with. Morphology, playing technique, the symbolic meaning of the playing of an instrument and the establishment of or the change in a trend in music can be manifested visually in a musical scene and are open to a certain degree to iconographic analysis. The ultimate aim of this work is hermeneutical penetration and interpretation of the scenes, the understanding of the meaning they held for their contemporary viewer. The work comprises an illustrated catalogue of Early Iron Age musical scenes and a catalogue of surviving musical instruments from Greece and Cyprus.

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Books on the topic "Musical iconography"

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Bodman, Helene Dunn. Chinese musical iconography: A history of musical instruments depicted in Chinese art. [Taipei, Taiwan, Republic of China]: Asian-Pacific Cultural Center, 1987.

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Bodman, Helene Dunn. Chinese musical iconography: A history of musical instruments depicted in Chinese art. Taipei, Taiwan (129 Sung Chiang Rd.): Asian-Pacific Cultural Center, 1987.

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Simon, Carl Geoffrey. Musical iconography in the sacred cantatas of Johann Sebastian Bach. Ann Arbor, Mich: University Microfilms International, 1990.

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Cooler, Richard M. The Karen bronze drums of Burma: Types, iconography, manufacture, and use. Leiden: E.J. Brill, 1995.

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Alvarez, Rosario. La iconografía musical Latinoamericana en el Renaciento y en el barroco: Importancia y pautas para su estudio = Latin American musical iconography in the Renaissance and in the baroque period : importance and guidelines for its study. Washington: Organization of American States, 1993.

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Gangoly, O. C. Rāgas & rāginĭs: A Pictorial & iconographic study of Indian musical modes based on original sources. New Delhi: Munshiram Manoharlal Publishers, 1989.

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Gangoly, O. C. Rāgas & rāginīs: A pictorial & iconographic study of Indian musical modes based on original sources. New Delhi: Munshiram Manoharlal, 1989.

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1942-, Wright Josephine, ed. Images: Iconography of music in African-American culture (1770s-1920s). New York: Garland Pub., 2000.

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Schultz, Peter. Aspects of Ancient Greek Cult: Context - Ritual - Iconography. Santa Barbara: Aarhus University Press, 2009.

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Heck, Thomas F. Picturing performance: The iconography of the performing arts in concept and practice. Rochester, N.Y: University of Rochester Press, 1999.

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Book chapters on the topic "Musical iconography"

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Wijsman, Suzanne. "Silent Sounds: Musical Iconography in a Fifteenth-Century Jewish Prayer Book." In Resounding Images, 313–33. Turnhout: Brepols Publishers, 2015. http://dx.doi.org/10.1484/m.svcma-eb.5.109340.

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Ruccius, Alexis. "7.3. The History of Musical Iconography and the Influence of Art History Pictures as Sources and Interpreters of Musical History." In The Making of the Humanities, edited by Rens Bod, Thijs Weststeijn, and Jaap Maat, 403–12. Amsterdam: Amsterdam University Press, 2014. http://dx.doi.org/10.1515/9789048518449-027.

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Vargas, Alejandro Alberto Téllez. "Iconography of performers with disabilities." In Disability and Music Performance, 64–81. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Interdisciplinary disability studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315109374-4.

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"VI. The Emergence of Celestial Musicians in Christian Iconography." In Music of the Spheres and the Dance of Death: Studies in Musical Iconology, 87–115. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400872336-010.

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"String versus Wind Instruments: The Ancient Tradition of the Musical Cosmos." In The Musical Iconography of Power in Seventeenth-Century Spain and Her Territories, 23–38. Routledge, 2015. http://dx.doi.org/10.4324/9781315654720-8.

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"Musical Emblems of the State in Seventeenth-Century Spain: Amphion, Timotheus Milesius, Marsyas and the Sirens." In The Musical Iconography of Power in Seventeenth-Century Spain and Her Territories, 75–94. Routledge, 2015. http://dx.doi.org/10.4324/9781315654720-12.

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"The Harmony of Earthly Rule: Erasmus of Rotterdam and Jean Bodin." In The Musical Iconography of Power in Seventeenth-Century Spain and Her Territories, 49–58. Routledge, 2015. http://dx.doi.org/10.4324/9781315654720-10.

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"Emblematic Literature and the Ideal Ruler." In The Musical Iconography of Power in Seventeenth-Century Spain and Her Territories, 59–74. Routledge, 2015. http://dx.doi.org/10.4324/9781315654720-11.

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"The Celestial Lyre: Royal Virtues and Harmonious Rule." In The Musical Iconography of Power in Seventeenth-Century Spain and Her Territories, 95–140. Routledge, 2015. http://dx.doi.org/10.4324/9781315654720-13.

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"Cosmic Harmony, Royal Wisdom and Eloquence." In The Musical Iconography of Power in Seventeenth-Century Spain and Her Territories, 141–70. Routledge, 2015. http://dx.doi.org/10.4324/9781315654720-14.

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Conference papers on the topic "Musical iconography"

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COROIU, PETRUTA-MARIA. "BYZANTINE ARTS AESTHETIC PRINCIPLES IN MUSIC AND ICONOGRAPHY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.001.

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