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IMS Study Group on Musical Iconography
, 2010 Nel breve contributo l'autrice, in qualità di chair dell'IMS Study Group on Musical Iconography, presenta i convegni e i seminari di ricerca internazionali ideati e realizzati nel corso del 2009 e programmati per il 2010.
GUIDOBALDI
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IIMS Study Group on Musical Iconography
, 2013 Nel breve contributo l'autrice, in qualità di chair dell'IMS Study Group on Musical Iconography, presenta i convegni e i seminari di ricerca internazionali ideati e realizzati nel corso del 2012.
Guidobaldi
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IMS Study Group on Musical Iconography
, 2012 Il breve contributo contiene il report ufficiale delle attività svolte nel corso del 2012 dall' IMS (International Musicological Society), Study Group on Musical Iconography, e in particolare della study session su "Multiple Identityies of Music and Culture as Visualized in European Art", ideata e presieduta da N. Guidobaldi con Bjoern R.
GUIDOBALDI, NICOLETTA
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The musical iconography of two capitals at Cluny
Symposium - Quarterly Journal in Modern Literatures, 1952exaly +2 more sources
The Sound of Happiness Life in the Renaissance Musical Iconography
In the fourteenth and fifteenth centuries, the depiction of themes such as the fountain of youth, the garden of delights, court games and pastimes was often accompanied by the presence of musical instruments. The miniatures accompanying the figurative cycles linked to chivalric novels such as the Roman de la Rose or the Roman d’Alexandre, or the ...exaly +2 more sources
Angels in Florentine Iconography and Trecento Musical Performance
The significance of angel musicians in Florentine Trecento paintings has been disputed: some say they are simply symbols of heavenly music; others argue that they are real people, making real music. Some even argue that the textless voices in manuscripts of secular music were intended for instrumental performance.
Stinson, John Alexander
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Sheet Music Iconography and Music in the History of Transatlantic Minstrelsy
Modern Language Quarterly, 2009This essay focuses on how aural and visual media intersected with class when, in 1843, blackface performers began to call themselves minstrels. Not merely a rebaptism, this new name marked a rebirth. Whereas blackface was originally a working-class theatrical experience passed on orally from performer to performer and from performer to audience ...
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Abstract This chapter explores music iconography as a vital field in music research that uses visual art to study instruments, musicians, and performance practices. It traces the discipline’s development as an interdisciplinary area linking musicology and art history, emphasizing evolving methodologies and the need for interpretive ...
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