Journal articles: '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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Pradoko, Susilo, Maria Goretti Widyastuti, Fu’adi Fu’adi, and Birul Walidaini. "8Th Century Musical Instrument on Kalasan Temple’s Relief." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 115–22. http://dx.doi.org/10.15294/harmonia.v21i1.28530.

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This research aims to unveil the types, size, figures, and functions of musical instruments carved as reliefs of Kalasan Temple as a way to revitalize the music from the 8th century. This research implements heuristic methods with Panofsky’s iconology analysis in three steps, which are pre-iconography, iconography, and iconology to analyse the reliefs of the Temple. The researchers validated the findings through forum group discussion with the Cultural Heritage Preservation Board of Yogyakarta. The findings show that (1) the relief of musical instruments in Kalasan temple is located on the head of Kala; (2) the musical instruments on the head are two wind instruments made of shells and a stringed instrument named vina; (3) there are two figures of musicians carved, which are two wind instruments players and a player of stringed instruments. The figures are depicted as heavenly creatures named Gandharva; (4) the measurement shows that the wind instruments have 35.98 cm length and 12.85 cm width, another one has 23.13 cm length and 12.85 cm width. Meanwhile, the stringed instrument has a length of 92.52 cm and 12.85 cm width; and (5) the musical instruments were performed to worship the Goddess of Tara.

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Fenster, Mark. "Country music video." Popular Music 7, no. 3 (October 1988): 285–302. http://dx.doi.org/10.1017/s0261143000002956.

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In order to take advantage of the promotional potential of the music video, the country music industry was forced to adapt a medium with conventions and aesthetic elements established by other musical genres – by pop and rock. And to reach its distinct market country music video also had to incorporate country's own established iconographic elements. This iconography is constructed and understood in two ways: through the traditional concerns of country music lyrics; and through the history of visual media based on and developed around the genre. Country music has, in fact, been associated with the screen since movies could first talk, from Jimmie Rodgers' 1929 movie short The Singing Brakeman through thousands of singing cowboy movies to the national television exposure that culminated in Hee Haw.

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(Freedman). "Polyphony and Poikilia: Theology and Aesthetics in the Exegesis of Tradition in Georgian Chant." Religions 10, no. 7 (June 26, 2019): 402. http://dx.doi.org/10.3390/rel10070402.

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Georgian polyphonic chant and folk song is beginning to receive scholarly attention outside its homeland, and is a useful case study in several respects. This study focuses on the theological nature of its musical material, examining relevant examples in light of the patristic understanding of hierarchy and prototype and of iconography and liturgy. After brief historical and theological discussions, chant variants and paraliturgical songs from various periods and regions are analysed in depth, using a primarily geometrical approach, describing the iconography and significance of style, musical structure, contrapuntal relationships, melodic figuration, and ornamentation. Aesthetics and compositional processes are discussed, and the theological approach in turn sheds light on questions of historical development. It is demonstrated that Georgian polyphony is a rich repository of theology of the Trinity and the Incarnation, and the article concludes with broad theological reflections on the place of sound as it relates to text, prayer, and tradition over time.

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Gavrilovic, Andjela. "On the sacral meaning of the musical instrument and the role of prophet David in the scene of the Death of the Rigtheous man. A contribution to the study of the visual representations of musical instruments in the east-Christian sacral art." Muzikologija, no. 27 (2019): 277–302. http://dx.doi.org/10.2298/muz1927277g.

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The Old Testament prophet David was known in sacred history as the King of Jews, as a prophet, the compiler of the Psalter, but also as a musician. Therefore, he is usually depicted with certain musical instruments in his hands in Eastern Christian art that illustrates sacred history or the biblical narrative. Although the representations of musical instruments in the art of the lands under the Byzantine cultural and spiritual influence have been minutely analysed, the existing art still provides opportunities for further research. Until present day most attention was given to the organographic analysis of the musical instruments (M. Velimirovic, D. Devic, R. Pejovic), while their meaning and the role in the scenes have remained insufficiently addressed. The scene analysed in this paper allows for both types of analysis. What is interesting from the iconographic and organographic point of view is the fact that the musical instruments with which Emperor David is portrayed in the scenes of the Death of the Righteous man are different. On this occasion, we will look at scenes of the Death of the Righteous man in the time span from the thirteenth to the seventeenth centuries in Byzantine art, as well as Serbian, Russian and Romanian ecclesiastical art after 1453 from the aspect of iconography. Special attention will be paid to the justification of the reasons for the appearance of certain instruments in the hands of King David, as well as their meanings.

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Vertiienko, H. V. "«ORIENTAL APHRODITE» ON THE OBJECTS FROM TERRITORY OF SCYTHIA (on the origins of iconography)." Archaeology and Early History of Ukraine 33, no. 4 (December 25, 2019): 340–47. http://dx.doi.org/10.37445/adiu.2019.04.25.

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The article analyzes the origins of the iconography of a woman’s face with a hairstyle that has characteristic curls, which have been deployed in different directions, on the objects of Scythian material culture. This feature of iconography is fixed twice. The first case are four silver and gilded pendants from the barrow 34 near the village Sofiyivka, Kherson region (Museum of Historical Treasures of Ukraine — a branch of the National Museum of History of Ukraine, inv. no. 2755/1—4). The second case, is the image on the working part of a bronze stamp from the Kamyanskoe settlement (Archaeology Museum of the Karazin National University of Kharkiv, inv. no. VN 2089). As for the female hairstyle on these images, it is not typical for classical Hellenic art, but finds parallels in the art of the Eastern Mediterranean and Ancient East. This style is similar to the so-called «Hathoric wig» in the art of ancient Egypt (on stelae, sculptures, amulets, painting on coffins, mirrors, musical instruments, etc.), which influenced the iconography of the hairstyles of female deities («Oriental Aphrodite») of the Mediterranean. The image of the goddess in the «Hathoric wig» could permeate to the Northern Pontic Sea Region through the Hellenic craftsmen, as a replica of the image of «Oriental Aphrodite» cult of whom may have existed in the region. At the same time, these images could be a «copy» (imitation) made by the Scythian craftsmen directly from the Egyptian original, most likely from some faience amulet, which usually has similar size and sometimes reproduces the head of Hathor. According to Herodotus, in the Scythian pantheon, the figure of Celestial Aphrodite (Aphrodite Urania) was corresponded by Argimpasa (Herod. IV, 59). Consequently, in such an iconographic form these images could depict this goddess. The image of the «Hathoric wig» on these objects can be considered the most northern examples of this iconographic element.

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Ampene, Kwasi. "Iconography, Documentary Evidence, Continuity, and Akan Musical Expressions Before the 15th Century." Ghana Studies 22, no. 1 (2019): 191–205. http://dx.doi.org/10.1353/ghs.2019.0009.

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Pankina, Elena V. "The Musical Iconography of the Private Chambers of Studiolo and Grotta of Isabella d’Este." Observatory of Culture 15, no. 4 (October 25, 2018): 468–78. http://dx.doi.org/10.25281/2072-3156-2018-15-4-468-478.

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The article is dedicated to the analysis of certain components of the historical interior of the studiolo and grotta of Isabella d’Este, Marquise of Mantua (1474—1539). The article considers, in the imagological aspect, the decorative elements of her private chambers in the “Palazzo Ducale” as a form of personal and, at the same time, status representation of the wife of the ruler of the state and as a reflection of some aspects of the behavioral standard of the Renaissance noble lady. For the first time, the artistic design of the Mantuan studiolo (private studio)and grotta (adjoining storage room for art and rarities) is examined through extraction of musical imagery and musical symbolism, which had a special importance in authomythologization of Isabella d’Este and reflected her deep personal passion for music.Analyzing the contextual part of the allegorical painting by Lorenzo Costa the Elder (1504—1506) “Allegory of the Court of Isabella d’Este”, the article focuses on the proximity of the characters playing the “heavenly” lute and zither to the figure of Isabella d’Este. And the attainment of eternal life by Isabella, as the center of the harmonious world of wisdom and art, is considered to be the main conceptual message. The depictions of the musical instruments on the wooden intarsia are regarded in connection with the music practice of the Marquise and people around her, which is evidenced by numerous documents of the Mantuan Archive of Gonzaga. The incipit of the chanson by Ockeghem “Prenez sur moi votre exemple amoreux”, included in the decor, for the first time receives an extended interpretation as an indirect semantic message. The figures of Euterpe and Erato, with their usual flute and lyre, are, on the contrary, quite traditional and expected in this context on the doorway marble medallions. The ceiling impreses, with the enigmatic image of musical signs (viola key, metric designations and pauses), have a symbolic meaning. The article concludes that the purpose of inclusion of the musical decor in the design of studiolo and grotta is to indicate the status of Isabella d’Este as a ruler of the artistic world where music takes the main part.

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Frings, Gabriele. "The "Allegory of Musical Inspiration" by Niccolo Frangipane: New Evidence in Musical Iconography in Sixteenth-Century Northern Italian Painting." Artibus et Historiae 14, no. 28 (1993): 141. http://dx.doi.org/10.2307/1483513.

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Gouk, Penelope. "The Musical Iconography of Power in Seventeenth-Century Spain and Her Territories, by Sara Gonzalez." English Historical Review 130, no. 543 (March 11, 2015): 451–53. http://dx.doi.org/10.1093/ehr/cev024.

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Paulová, Eva. "Prague Spring in the Drawings of Karel Otáhal." Musicalia 8, no. 1-2 (2016): 13–21. http://dx.doi.org/10.1515/muscz-2017-0001.

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This study reports on interesting holdings in the musical iconography collection of the Czech Museum of Music. Drawings by the sculptor Karel Otáhal (1901–1972) that are related to music and musicians were created for the most part at concerts of the Prague Spring festival between 1946 and 1969. He had already begun making portraits of musicians by the end of his studies, when he created a sculpture of Jan Kubelík. His works are a specific expression of portrait realism and of the ability to capture the typical movement and characteristics of the person depicted. He met in person with musicians, and his drawings bear valuable dedications and commemorative musical quotations by important figures of Czech and foreign music. Unlike the other creators of such drawings, he was merely an enthusiastic observer, but not a caricaturist. Otáhal’s drawings serve as a unique source on the history and dramaturgy of the Prague Spring festival, including its politicization in the 1950s.

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Carderaro, Lidiane Carolina, and Fábio Vergara Cerqueira. "A IMAGEM DO JOVEM MÚSICO EM AGONES MUSICAIS ATRAVÉS DA ICONOGRAFIA DE VASOS ÁTICOS." Cadernos do LEPAARQ (UFPEL) 14, no. 27 (June 29, 2017): 157. http://dx.doi.org/10.15210/lepaarq.v14i27.10542.

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RESUMO: Neste artigo será analisada como é representada, na iconografia de vasos áticos, a presença de músicos jovens e meninos em agones musicais que integram os festivais ocorridos em Atenas, principalmente entre os séculos V e IV a.C. Para tanto, identificaremos nas imagens elencadas alguns aspectos específicos de caracterização desses músicos, tais como detalhes da vestimenta utilizada nas competições, que difere daquela utilizada em agones escolares, bem como os instrumentos especificamente usados nesse tipo de competição e, ainda, elementos identificadores do ambiente, como a representação de colunas e do bema. Além disso, analisaremos a relação que se faz desses jovens músicos, em especial os citaredos, através de alegorias, com a imagem de Apolo infantilizado, cuja ocorrência é crescente na iconografia de vasos áticos a partir do século V a.C.ABSTRACT: This article will analyze how is represented in iconography of Attic vases the presence of young and boys musicians in musical agones integrating festivals occurred in Athens, especially among fifth and fourth centuries BC. To do so, we will identify on the listed images some specific aspects of the characterization of these musicians, such as details of the clothes, which differs from that used in scholar agones, as well as the instruments specifically used in this kind of competition and elements that identify the environment, as representation of columns and the bema. Furthermore, we analyze the relation between these young musicians, especially the kitharoidos, through allegories, with the image of Apollo childish, whose occurrence increase on the iconography of Attic vases from the fifth century BC.

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Bordas. "VIII Encuentro del Study Group for Musical Iconography: Sedano (Burgos), 15-19 de mayo de 1996." Revista de Musicología 19, no. 1/2 (1996): 411. http://dx.doi.org/10.2307/20797137.

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Safiullina, L., and R. Rakhmatullina. "Development of musical satirical iconography: based on foreign caricatures of the XVIII — beginning of the XIX centuries." Bulletin of the South Ural State University Series «Social Sciences and the Humanities» 16, no. 02 (2016): 80–89. http://dx.doi.org/10.14529/ssh160213.

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Thurley, Oliver. "DISAPPEARING SOUNDS: FRAGILITY IN THE MUSIC OF JAKOB ULLMANN." Tempo 69, no. 274 (September 7, 2015): 5–21. http://dx.doi.org/10.1017/s0040298215000339.

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AbstractThe music of Jakob Ullmann (b. 1958) is notable for its protracted structural stasis and delicacy; its fusion of rigorously engineered notational systems, abstract graphical elements and Byzantine iconography; and – above all – its unrelenting quietness. This article offers a rare view into Ullmann's compositional practices, with a specific focus upon the role of fragility in the work. Exploring this concept of fragility as a musical feature, this article considers a number of Ullmann's works from the perspectives of the compositions and their scores, the performance and the agency of performers and, finally, how audiences may listen to this fragility. The article concludes with a consideration of the importance of fragility to Ullmann's oeuvre, and of how it might help us to further understand his music.

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BOHLMAN, ANDREA F., and PETER McMURRAY. "Tape: Or, Rewinding the Phonographic Regime." Twentieth-Century Music 14, no. 1 (February 2017): 3–24. http://dx.doi.org/10.1017/s1478572217000032.

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AbstractMagnetic tape follows the contours of the twentieth century in striking ways, from the overtly sonic and musical to less obvious political and social transformations. This introductory article sets the tone for this special issue, an effort to connect discrete histories of tape through a focus on its materialities. We posit the existence of a phonographic regime that coheres around a loose set of assumptions that often appear in tandem with broad claims about what ‘sound recording’ or even ‘analogue media’ are. This regime dates back to the invention of phonography but persists through many contemporary histories of sound recording. We challenge the regime by thinking with and through tape recording. One of tape's critical media operations, ‘rewind’, serves as a central focus for our push-back against the regime. As a button-interface, it highlights the physical engagement of humans with materialities, including the corporal labours of using technology, with iconography that digital technologies still employ. As a mechanism of respooling, it points to the industrial histories of various spooling forerunners from textiles to film reels. As we explore its cultural techniques in musical practices, we consider rewind, above all, as a temporal gesture that offers new paths backward into history.

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Head, Matthew. ""If the Pretty Little Hand Won't Stretch": Music for the Fair Sex in Eighteenth-Century Germany." Journal of the American Musicological Society 52, no. 2 (1999): 203–54. http://dx.doi.org/10.2307/831998.

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The image of the young lady at music is part of the mythology of the eighteenth century, nostalgically summoning a bygone era in European manners. How should such images be read, and to what uses are they put in the construction of the past and the present? Richard Leppert appeals to eighteenth-century iconography to argue the disciplinary function of music on women. This article extends Leppert's arguments in a newly uncovered repertory of songs and keyboard works published in eighteenth-century Germany "for the fair sex." Moving between prescriptions about musical practice specifically and women's character and place in the world more broadly, this music evinces cautionary and disciplinary rhetorics that accord with Leppert's readings. But whereas Leppert deals with paintings-more or less official representations-musical performance and reception complicate the picture. In performance, music offers possibilities for negotiation. On closer examination, instrumental music for the fair sex reveals a complex web of generic and stylistic motifs that undermine the manifest rhetoric of easiness and simplicity in the repertory and invoke the professional and public spheres. Questioning as well as espousing virtue, and haunted by the figure of the rake, songs for ladies reflect the instability in the emergent discourses of bourgeois femininity and the private sphere.

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Rocha, Luzia Aurora. "Music Iconography, Opera, Gender and Cultural Revolution – The Case Study of the Kwok On Collection (Portugal)." Studia Musicologica 59, no. 3-4 (December 2018): 365–98. http://dx.doi.org/10.1556/6.2018.59.3-4.7.

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Abstract This study aims to revisit the creation of opera, symphonic versions of opera and ballet (yangbanxi) during the period of the Cultural Revolution of Mao's China. Beginning with the Kwok Collection (Fundação Oriente, Portugal), I aim to establish a new vision of the yangbanxi (production and reception) by means of an analysis of sources with musical iconography. The focus of the study is on questions of gender and the way in which the feminine was an indispensable tool for the construction and dissemination of the idea of a new nation-state. This study thus aims to make a new contribution to the area, showing how the construction of new opera heroines, communist and of the proletariat, is built on the image of the first “heroine-villain” constructed by the regime, Jiang Qing, the fourth wife of Mao Zedong. The title chosen demonstrates the paradox of the importance of woman in opera and in politics at a time when the only image to be left to posterity was that of a dominant male hero, Mao Zedong.

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Bolshakov, Vladimir A. "Royal women-sistrophoroi: to the interpretation of sistrum symbolism un cultic practice of the New Kingdom Period." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 25. http://dx.doi.org/10.31857/s086919080015730-0.

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The present article deals with the symbolism of the sistrum in the cultic and ceremonial practice of the New Kingdom period. As a sacred musical instrument, closely associated with Hathor and other goddesses identified with her (Tefnut, Sakhmet, Bastet, Iusaas, Nebet-Hetepet), the sistrum of two types (sSSt and sxm) was widely used in performing various religious rituals and ceremonies. Since the dominant type in the iconography of the king’s wives and mothers of the New Kingdom is their image playing the sistrum/sistra, the author focuses primarily on the main female representatives of the royal family. The article provides a brief overview of iconography, laudatory epithets of royal women and accompanying inscriptions to the use of sistra. A study of official cultic and ceremonial scenes with royal women shaking sistra, allows the author to define three main objects of veneration: a. gods; b. goddesses; c. king. The author also puts into doubt the interpretation widespread in modern Egyptology, according to which, the sexual energy of the supreme deity was stimulated through playing music. Moreover, the absence of the important title “god’s wife/hand” in the protocol of some royal women does not allow reducing their cultic role to the personification of the consort/daughter of a solar deity. A critical approach to this interpretation makes it possible to state that playing sistra was not an exclusively female prerogative and was not limited to the strict opposition “royal woman – god”. Besides, one can conclude that the use of sistra as liturgical objects was a prerequisite for performing offering rituals.

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Swan, David. "THE CARNYX ON CELTIC AND ROMAN REPUBLICAN COINAGE." Antiquaries Journal 98 (September 2018): 81–94. http://dx.doi.org/10.1017/s0003581518000161.

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This paper explores the cross-cultural portrayals of an unusual and striking musical instrument, the carnyx, on the coinages of the Romans and the inhabitants of Iron Age Britain and Gaul. Fashioned as a snarling boar, the carnyx was a war horn used by the Gauls and Britons that not only captivated the minds of their artists, but also those of the Romans. This paper studies the cross-cultural phenomenon of its appearance in the coin iconography of the late second to late first centuriesbc. This simultaneous analysis of Roman, Gallic and British coinage reveals that while each culture had a shared belief in the carnyx’s military role, each culture also had its own interpretation of the object’s significance. To the Romans, it was a symbol of the barbarian, to be cherished as a war trophy after a Roman victory, but to those northern Europeans, it was a sign of pride and spiritual significance. An image’s meaning is, therefore, seen to transform as it crosses into a new cultural context.

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Dolskaya-Ackerly, Olga. "Vasilii Titov and the ‘Moscow’ Baroque." Journal of the Royal Musical Association 118, no. 2 (1993): 203–22. http://dx.doi.org/10.1093/jrma/118.2.203.

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The Baroque, which manifested itself in Muscovy during the course of the seventeenth century, has been recognized as one of the most dynamic and influential eras of Russian musical and artistic creativity. When looking at the history of Russian music one has a tendency to equate the new stylistic trends of the second half of the seventeenth century with those of the highly westernized eighteenth, and to dismiss both merely as periods of Western imitation. In reality music manuscripts reveal otherwise, and now that compositions are finally becoming available in transcription we realize that an entire era remains to be recognized and re-evaluated. In art and architecture, that era, known as the ‘Moscow’ or the ‘Naryshkin’ Baroque, is distinguished by a blend of Italian, Dutch, Russian, Ukrainian and Bielorussian features in a style that, although influenced by foreign elements, was none the less distinct from any in existence at the time. The Moscow Baroque embraced many aspects of the arts, from iconography, architecture and the applied arts to literature and music. Endorsed by Tsar Alexei Mikhailovich (1645–76), foreign influence began to penetrate Muscovy, ushering in a cognizance of Western concepts that began to clash with the rich and long-established spiritual and cultural traditions. In fact Muscovy was just emerging from an aesthetic explosion known as the Golden Age of national artistic expression. Familiar are the magnificent onion-dome churches that were created during the sixteenth century and the flourishing musical centres in Novgorod and Moscow, where composers and singers developed an intrinsically Russian musical style. This was also the age of indigenous Russian polyphony (e.g. strochnoe moskovskoe, strochnoe novgorodskoe, znamennoe and demestvennoe mnogogolosie) which preceded the wave of Western infiltration that inadvertently led to an untimely halt of the evolutionary process of national awakening. Prior to that halt, the Moscow Baroque stands as a brief but unique chapter in the development of the Russian choral tradition.

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Jeż, Tomasz. "The Music Repertoire of the Society of Jesus in the Polish-Lithuanian Commonwealth (1565–1773)." Musicology Today 13, no. 1 (December 1, 2016): 32–40. http://dx.doi.org/10.1515/muso-2016-0002.

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Abstract The paper presents the research project coordinated by the University of Warsaw and financed by the Minister of Science and Higher Education as part of the “Tradition 1a” module of the National Programme for the Development of Humanities. The main task of this research project is the documentation of the Jesuit music repertory produced and disseminated on the territory of the Polish-Lithuanian Commonwealth. The results of the project work will be published in a new editorial series, which will include catalogues of sources and music iconography, monographs, databases and critical editions of music-related sources of Jesuit provenience. The publications will appear in print and on-line. The expected research results will serve not only musicologists, but also representatives of other fields of humanities. The work of the international research team is hoped to restore to the national heritage the forgotten monuments of Jesuit musical culture and should lead to a reliable assessment of their historical value. The results of the research of the international team of scientists will influence the present-day sense of identity of the countries which in the past jointly formed the literary culture our Commonwealth.

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Rothenberg, David J. "Angels, Archangels, and a Woman in Distress: The Meaning of Isaac's Angeli archangeli." Journal of Musicology 21, no. 4 (2004): 514–78. http://dx.doi.org/10.1525/jm.2004.21.4.514.

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Henricus Isaac's grand six-voice motet Angeli archangeli (Angels, archangels) sets a text from the liturgy of the Feast of All Saints (November 1), but its only preexistent musical material is a cantus firmus in the tenor voice, drawn from the tenor of the mid 15th-century chanson Comme femme desconfortéée (As a woman in distress), attributed to Binchois. Scholars have assumed that Angeli archangeli is a motet for All Saints but have been at a loss to explain why Isaac chose the cantus firmus he did. This study attempts to explain Isaac's puzzling juxtaposition of Latin text and secular cantus firmus by suggesting that Angeli archangeli is not a motet for All Saints, but rather for the Assumption of the Virgin. Liturgical analysis of the motet text reveals that its connection to the Feast of All Saints (November 1) is weaker than has previously been assumed. Additionally, examination of numerous other sacred works that incorporate the Comme femme desconfortéée tenor demonstrates that it was widely understood as a Marian cantus firmus ca. 1500. The Marian associations of the cantus firmus help to explain why one manuscript source (VatS 46) groups the work with other Marian motets, and why another (LeipU 1494) transmits it with a Marian contrafact text (O regina nobilissima). Finally, by relating the musical construction of Angeli archangeli to the Assumption of the Virgin as depicted in late medieval liturgy, iconography, and in Jacobus de Voragine's widely read Legenda aurea, it is suggested that the text of Angeli archangeli, though drawn from the All Saints liturgy, actually describes Mary's assumption into heaven. Sacred text and secular cantus firmus thus collaborate in communicating a complex but clear theological/devotional meaning.

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Selva-Ruiz, David, and Desirée Fénix-Pina. "Soundtrack Music Videos: The Use of Music Videos as a Tool for Promoting Films." Communication & Society 34, no. 3 (May 31, 2021): 47–60. http://dx.doi.org/10.15581/003.34.3.47-60.

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The soundtrack music video is an audiovisual format used by the cultural industries of film and music as a commercial communication tool, since it is based on a song from the soundtrack of a film, so that both the artist that performs the song and the film itself obtain promotional benefits. This paper conceptualizes this poorly studied phenomenon of cross-promotion connecting the music and film industries and uses a content analysis of 119 music videos produced over a period of 33 years in order to study the importance of the artist and the movie in the video, the various strategies developed in order to accomplish its double promotional mission, and the specific formal and strategic features of this audiovisual format. Analysis reveals that the soundtrack music video has the distinctive feature of including promotional elements both for the musical artist and for the movie. Although the artist tends to be more prominent, the vast majority of music videos include images from the film or use various ways of integrating the artist’s identity with the film’s iconography or narrative. Anyway, it is a phenomenon characterized by diversity, with the common pattern of the dual promotional objective, but with different ways of implementing that pattern.

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Pieragostini, Renata. "UNEXPECTED CONTEXTS: VIEWS OF MUSIC IN A NARRATIVE OF THE GREAT SCHISM." Early Music History 25 (August 17, 2006): 169–207. http://dx.doi.org/10.1017/s0261127906000155.

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On 11 November 1417, the election at the Council of Constance (1414–18) of Oddo Colonna as Pope Martin V brought to an end a period of almost forty years of instability and crisis within the Church, which had begun with the outbreak of the Schism in 1378. After his consecration, the new pope set out to return to Rome, intending to re-establish there the Holy See, while the Council continued. Martin V entered Rome in September 1420, after travelling through Geneva, Pavia, Mantua, Milan and Florence. In the latter city he resided for almost two years, from 26 February 1419 to 9 September 1420. It was most likely during the pope's residence there that an Italian student in law, Antonio Baldana, wrote and dedicated to him a peculiar work: a narrative of the Schism written in the form of prophecy, in a mixture of prose and verse, Latin and Italian, and accompanied by thirty watercolour illustrations. The only known surviving version of this work is contained in a manuscript now preserved in Parma, Biblioteca Palatina, as MS Parmense 1194. The manuscript has been studied primarily for its iconography, while its musical implications, which form the subject of the present study, have so far passed unnoticed. In fact, as we shall see, Baldana's work is also designed as a framework for a discussion encompassing the disciplines of trivium and quadrivium – a small encyclopedia, where a distinctive connection is drawn between rhetoric, astrology and music.

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Rothenberg, David J. "The Most Prudent Virgin and the Wise King:Isaac's Virgo prudentissima Compositions in the Imperial Ideology of Maximilian I." Journal of Musicology 28, no. 1 (January 1, 2011): 34–80. http://dx.doi.org/10.1525/jm.2011.28.1.34.

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Isaac quoted the chant Virgo prudentissima (Most Prudent Virgin), Magnificat antiphon for the Feast of the Assumption, in four compositions. Three of them can be shown to have connections to the Hofkapelle court chapel) of Emperor Maximilian I, Isaac's employer starting in 1496. They are: (1) the six-voice ceremonial motet Virgo prudentissima, composed in 1507 while Isaac was in Constance for the imperial Reichstag that Maximilian had convened in order to plan his coronation as Emperor; (2) the six-voice Missa Virgo prudentissima, which has sometimes been thought to be an earlier work but probably dates from around the same time; and (3) Gaudeamus omnes, the Assumption Introit in volume 2 of the Choralis Constantinus, which quotes Virgo prudentissima as a secondary cantus firmus. All three of these works appropriate the liturgy and theology of the Assumption of the Virgin so that Maximilian's ascent to the Imperial throne and coronation as Emperor might be aligned symbolically with the Virgin Mary's Assumption into heaven and Coronation therein as Queen. The symbolism of Isaac's compositions helped Maximilian, who crafted his public image very carefully by commissioning numerous large-scale propagandistic textual and visual works, to portray himself as a noble and enlightened ruler seeking protection for his imperial crown and empire from the Virgin Mary. Isaac's musical imagery also aligns very closely with the visual iconography of Albrecht Dürer's painting Festival of the Rose Garlands.

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GÜRAY GÜLYÜZ, Bahriye. "Tasavvufi Bir Çalgı Olarak Nefirin İkonografik Evrilimi." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 96 (December 20, 2020): 55–80. http://dx.doi.org/10.34189/hbv.96.003.

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37

Marković, Tatjana. "Ottoman legacy and Oriental Self in Serbian opera." Studia Musicologica 57, no. 3-4 (September 2016): 391–402. http://dx.doi.org/10.1556/6.2016.57.3-4.7.

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Serbia was an Ottoman province for almost four centuries; after some rebellions, the First and Second Uprising, she received the status of autonomous principality in 1830, and became independent in 1878. Due to the historical and cultural circumstances, the first stage music form was komad s pevanjem (theater play with music numbers), following with the first operas only at the beginning of the twentieth century. Contrary to the usual practice to depict “golden age” of medieval national past, like in many other traditions of national opera, the earliest Serbian operas were dedicated to the recent past and coexistence with Ottomans. Thus the operas Na uranku (At dawn, 1904) by Stanislav Binički (1872–1942), Knez Ivo od Semberije (Prince Ivo of Semberia, 1911) by Isidor Bajić (1878–1915), both based on the libretti by the leading Serbian playwright Branislav Nušić, and also Zulumćar (The Hooligan, librettists: Svetozar Ćorović and Aleksa Šantić, 1927) by Petar Krstić (1877–1957), presented Serbia from the first decades of the nineteenth century. Later Serbian operas, among which is the most significant Koštana (1931, revised in 1940 and 1948) by Petar Konjović (1883–1970), composed after the theatre play under the same name by the author Borisav Stanković, shifts the focus of exoticism, presenting a life of a south-Serbian town in 1880. Local milieu of Vranje is depicted through tragic destiny of an enchanting beauty, a Roma singer Koštana, whose exoticism is coming from her belonging to the undesirable minority. These operas show how the national identity was constructed – by libretto, music and iconography – through Oriental Self. The language (marked by numerous Turkish loan words), musical (self)presentation and visual image of the main characters of the operas are identity signifiers, which show continuity as well as perception of the Ottoman cultural imperial legacy.

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TK. "Swedish iconography." Early Music XXII, no. 4 (November 1994): 688–90. http://dx.doi.org/10.1093/earlyj/xxii.4.688.

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KIRNBAUER, MARTIN. "Instrumental iconography." Early Music XXIII, no. 4 (November 1995): 734—a—735. http://dx.doi.org/10.1093/earlyj/xxiii.4.734-a.

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KIRNBAUER, MARTIN. "Instrumental iconography." Early Music XXIII, no. 4 (November 1995): 734—b—735. http://dx.doi.org/10.1093/earlyj/xxiii.4.734-b.

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HOEPRICH, ERIC. "Instrumental iconography." Early Music XXIII, no. 4 (November 1995): 735–36. http://dx.doi.org/10.1093/earlyj/xxiii.4.735.

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Libin, Laurence. "RIdIM/RCMI Inventory of Music Iconography No. 8: The Cleveland Museum of Art . Ross Duffin . On Concepts and Classifications of Musical Instruments . Margaret J. Kartomi . Selected Reports in Ethnomusicology. Volume 8, Issues in Organology . Sue Carole DeVale ." Journal of the American Musicological Society 46, no. 1 (April 1993): 144–52. http://dx.doi.org/10.1525/jams.1993.46.1.03a00060.

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43

Tolley, Thomas. "Comic Readings and Tragic Readings: Haydn’s observations on London audience responses in 1791." Studia Musicologica 51, no. 1-2 (March 1, 2010): 153–78. http://dx.doi.org/10.1556/smus.51.2010.1-2.11.

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This paper explores the iconography of two prints owned by Haydn, the traditions to which they belonged and their aesthetic consequences. The prints depict two contrasting audiences, one amused and the other despondent, and feature a range of iconographic references that Haydn would have readily responded to, including such themes as the death of Dido, the world of Tristram Shandy, the madness of Orlando and Don Quixote, the humorous verse of Peter Pindar (one of Haydn’s librettists) and inevitably (in prints of this kind) contemporary English politics. A particular point of interest is a caricature of Edward Topham, an amateur caricaturist and founding editor of the influential newspaper The World , featured in one of the prints. In a series of issues in the late 1780s The World published a ‘correspondence’ with Haydn himself, which sought to undermine the composer’s suitability for composing with London audiences’ in mind. The print may have helped serve to remind Haydn of this dispute at the time he actually began composing in London and to aid him in keeping such audiences in mind when composing for them.

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Libin, Laurence. "Review: RIdIM/RCMI Inventory of Music Iconography No. 8: The Cleveland Museum of Art by Ross Duffin; On Concepts and Classifications of Musical Instruments by Margaret J. Kartomi; Selected Reports in Ethnomusicology. Volume 8, Issues in Organology by Sue Carole DeVale." Journal of the American Musicological Society 46, no. 1 (1993): 144–52. http://dx.doi.org/10.2307/831809.

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45

Seebass, Tilman. "Iconography and Dance Research." Yearbook for Traditional Music 23 (1991): 33. http://dx.doi.org/10.2307/768395.

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FORD, TERENCE. "INVENTORIES OF MUSIC ICONOGRAPHY." Music and Letters 68, no. 4 (1987): 418. http://dx.doi.org/10.1093/ml/68.4.418.

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Tammen, Björn R. "A FEAST OF THE ARTS: JOANNA OF CASTILE IN BRUSSELS, 1496." Early Music History 30 (September 8, 2011): 213–48. http://dx.doi.org/10.1017/s0261127911000015.

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As the only late fifteenth-century picture book devoted to a ‘joyous entry’, inv. 78.D.5 of the Staatliche Museen zu Berlin – Kupferstichkabinett is a source of singular importance, conveying a total of twenty-seventableaux vivantsstaged for Joanna of Castile (‘the Mad’) on the occasion of her entry into Brussels, 15 December 1496, as duchess of Brabant. The present contribution focuses on two tableaux with musical subject matter, consciously displayed at the very beginning and at the very end: Jubal and Tubalcain, the biblical inventors of music, on the one hand, and St Luke portraying the Virgin Mary with Child, enriched by the means of angelic musicians, on the other. Besides iconographic issues, special emphasis is placed on Joanna, her musical inclinations, and the respective institutional background: whereas the St Luke tableau contributes to the corporate identity of Brussels's painters' guild, the biblical inventor of music allows for the self-presentation of the rhetoricians, who were in charge of ‘programming’ the joyous entry and its festive apparatus. In sum, political messages have been musically disguised; uncommon biblical or even extra-biblical subjects become vehicles for a complex layer of meaning that permeates the public space.

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Savage, R. "Iconography. A dynastic marriage celebrated." Early Music 26, no. 4 (November 1, 1998): 632–35. http://dx.doi.org/10.1093/em/26.4.632.

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Stevens, Denis. "ICONOGRAPHY: Musicians in 18th-century Venice." Early Music XX, no. 3 (August 1992): 403–8. http://dx.doi.org/10.1093/earlyj/xx.3.403.

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Gaston, Robert W. "Iconography and Liturgy at St Mark's." Plainsong and Medieval Music 2, no. 2 (October 1993): 181–89. http://dx.doi.org/10.1017/s0961137100000528.

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Some of the most explicit statements in early Christian and medieval sources about the functions of visual images in churches are notable for their silence regarding the liturgical significance of wall decoration. There is talk of imagery of the Old and New Testaments instructing the laity so that they should know ‘the high deeds of the servants of God and may be prompted to imitate them’, or at least to remember them. Images might be said to ‘decorate with beauty the house of the Lord’, but it is difficult to find it stated anywhere that the monumental cycles that still arrest our gazes in many of the churches were executed to ‘illustrate’, or to ‘represent’, or to ‘dramatize’ the liturgy that was celebrated in those sacred edifices

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Journal articles on the topic 'Musical iconography'

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