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E-raamat: Painting Music in the Sixteenth Century: Essays in Iconography

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Painting Music in the Sixteenth Century: Essays in IconographySuurem pilt
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Professor Slim deals here with the several roles that music can play in the artworks of the Renaissance, looking in particular at Italian painting of the 16th century. For understandable reasons, art historians sometimes neglect the role of music and, especially, that of musical notation when studying works of art. These studies not only identify musical compositions, wholly or partially inscribed in paintings - and tapestries, ceramics, prints as well - but also seek reasons why these particular musical compositions were included and analyse their relevance to the scene depicted. Furthermore, as many of these studies show, identifying a musical composition, especially if it has a text, leads to the formation of ideas about iconographical functions and thus augments interpretations of the visual art.

Arvustused

Slim is...excellent at tracing different versions of paintings to get behind what the ravages of time and restoration may have destroyed. Apart from the intrinsic interest of the various paintings here, this provides models of the scholarship necessary for others wishing to study music in paintings. Early Music Review 'This is a welcome production by Ashgate, for the book includes several articles which until now had only been available in obscure publications... The book is highly recommended...' Music in Art '... provides useful scholarship in an underresearched area. Slim's text consists of eighteen of his essays written for various journals between 1964 and 1998 and an introduction, also written by him. Because the sources are so varied, it is useful to have this information and bibliography under one cover, especially for the art historian, who might not have ready access to journals of musicology... a good art history library would do its patrons a service to include this book in its collection and cross-reference it as such. All in all, the book is a good example of balanced cross-disciplinary scholarship, and it demonstrates that musicologists and art historians can help each other and learn from each other.' Sixteenth Century Journal

Preface vii
Acknowledgements xi
Introduction: Some Thoughts on Musical Inscriptions
1(1)
Revised version, RIDIM Newsletter 2.2 New York, 1977
`Some Possible Likenesses of Francesco Canova da Milano (1497--1543)'
1(1)
Revised excerpt, Musica Disciplina 18, Rome, 1964
The Prodigal Son at the Whores' Music, Art, and Drama
1(456)
Distinguished Faculty Lecture, presented 21 May
1976. Irvine, CA, 1976
A Motet for Machiavelli's Mistress and a Chanson for Courtesan
457(3)
Essays Presented to Myron P. Gilmore, ed. S. Bertelli and G. Ramakus. Florence. 1978
Mary Magdalene, Musician and Dancer
460(356)
Early Music
8. London, 1980
Mary Magdalene, mondaine musicale
816
Report of the Twelfth Congress Berkeley 1977, International Musicological Society. Kassel, 1981
Paintings of Lady Concerts and the Transmission of 'Jouissance vous donneray'
51(190)
Imago Musicae I. Kassel, 1984
Musical Inscriptions in Paintings by Caravaggio and his Followers
241(48)
Music and Context: Essays for John M. Ward, ed. Anne Dhu Shapiro. Boston, 1985
Music in and out of Egypt: A Little-Studied Iconographical Tradition
289(82)
Musica Disciplina 37 (1983). Stuttgart, 1985
Music in Majolica
371(27)
Early Music
12. London, 1984
Giovanni Girolamo Savoldo's Portrait of a man with a Recorder
398
Early Music
13. London, 1985
Tintoretto's `Music-Making women' at Dresdon
45(46)
Imago Musicae 4 (1987). Kassel, 1988
Arcadelt's `Amor, tu sai' in an Anonymous Allegory
91
I Tatti Studies: Essays in the Renaissance
2. Florence, 1987
The Lutenist's Hand
32(1)
Journal of Leonardo Studies and Bibliography of Vinciana I. Florence, 1988
An Iconographical Echo of the Unwritten Tradition in a Verdelot Madrigal
33(122)
Studi Musicali
17. Florence, 1988
Two Paintings of `Concert Scenes' from the Veneto and the Morgan Library's Unique Music Print of 1520
155(88)
In Cantu et in Sermone: for Nino Pirrotta on his 80th Birthday, ed. Fabrizio Della Seta and Franco Piperino. Florence, 1988 (?)
Lasso's La Cortesia Voi, Donne, Predicate: A Villanesca Printed, Penned, Plucked and Depicted
243(74)
Le Concert des Voix et des Instruments a la Renaissance. Paris, 1995
Valid and Invalid Options for Performing Frottole as Implied in Visual Sources
317
`La musique, de tous les passetemps le plus beau...': Hommage a Jean-Michel Vaccaro. Paris, 1998
Addenda et Corrigenda 1(1)
Index 1
H. Colin Slim, University of California - Irvine, USA
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