Academic literature on the topic 'Musical iconography'
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Journal articles on the topic "Musical iconography"
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.
Full textFabris, D. "Musical iconography in Ravenna." Early Music 35, no. 1 (January 16, 2007): 163–64. http://dx.doi.org/10.1093/em/cal116.
Full textShchetynsky, 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.
Full textSillars, 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.
Full textLuengo, 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.
Full textPietrini, 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.
Full textLee, 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.
Full textMyers, 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.
Full textBank, Katie. "(Re)creating the Eglantine Table." Early Music 48, no. 3 (August 1, 2020): 359–76. http://dx.doi.org/10.1093/em/caaa051.
Full textSteblin, 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.
Full textDissertations / Theses on the topic "Musical iconography"
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.
Full textPyle, 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.
Full textEsteve, 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.
Full textThe 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.
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/.
Full textThe 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.
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.
Full textThe 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
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.
Full textThroughout 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
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.
Full textFerras, Mélanie. "Pratiques musicales et sonores des Andes centrales préhispaniques : une contextualisation archéologique et sociale." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL183.
Full textPrehispanic 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
Fresquet, Xavier. "Les cithares-planche médiévales : organologie, reconstitution et translatio musicae." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040074.
Full textDeveloped 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
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.
Full textBooks on the topic "Musical iconography"
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.
Find full textBodman, 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.
Find full textSimon, Carl Geoffrey. Musical iconography in the sacred cantatas of Johann Sebastian Bach. Ann Arbor, Mich: University Microfilms International, 1990.
Find full textCooler, Richard M. The Karen bronze drums of Burma: Types, iconography, manufacture, and use. Leiden: E.J. Brill, 1995.
Find full textAlvarez, 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.
Find full textGangoly, O. C. Rāgas & rāginĭs: A Pictorial & iconographic study of Indian musical modes based on original sources. New Delhi: Munshiram Manoharlal Publishers, 1989.
Find full textGangoly, O. C. Rāgas & rāginīs: A pictorial & iconographic study of Indian musical modes based on original sources. New Delhi: Munshiram Manoharlal, 1989.
Find full text1942-, Wright Josephine, ed. Images: Iconography of music in African-American culture (1770s-1920s). New York: Garland Pub., 2000.
Find full textSchultz, Peter. Aspects of Ancient Greek Cult: Context - Ritual - Iconography. Santa Barbara: Aarhus University Press, 2009.
Find full textHeck, Thomas F. Picturing performance: The iconography of the performing arts in concept and practice. Rochester, N.Y: University of Rochester Press, 1999.
Find full textBook chapters on the topic "Musical iconography"
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.
Full textRuccius, 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.
Full textVargas, 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.
Full text"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.
Full text"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.
Full text"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.
Full text"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.
Full text"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.
Full text"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.
Full text"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.
Full textConference papers on the topic "Musical iconography"
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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