Since its beginning, Music in Art has published over 300 articles on a variety of topics, considering art representing musical scenes and music-related traditions in different geographic areas. The range of topics covered by articles published in the journal is so broad that it would be possible to teach the entire course on methods of researching music iconography and the main topics considered by the discipline on their basis. To help the organization of such a course, we have grouped articles from the journal by their subjects. These topics can be selected in any way teacher of the course finds it appropriate for his/her needs.
Following each article title is indicated volume number of the journal, date of publication and page number of the initial page.

 
Methodology of Research on Music Iconography

Antonio Baldassarre, The Jester of Musicology, or The Place and Function of Music Iconography in Institutions of Higher Education 35 (2010), 9-35
Antonio Baldassarre, Reflections on Methods and Methodology in Music Iconography 25 (2000), 33-38
Jordi Ballester, Past and Present of Music Iconography in Spain 27 (2002), 7-12
Ann Buckley, Music Iconography and the Semiotics of Visual Representation 23 (1998), 5-10
Luis Antonio Gómez Gómez, Research Methodology of Music Iconography in Mixtec Pre-Hispanic Codices 31 (2006), 95-104
Liu Yong, When Mural Paintings Cannot Provide Iconographic Evidence? 39 (2014), 57-60
Sylvain Perrot, What Makes an Image Sound? The Ancient Greek Point of View 47 (2022), 5-22
Simon Shaw-Miller, Imago Musicae: Imaging Music from Ladybird to Wittgenstein 37 (2012), 161-176
Theodor E. Ulieriu-Rostás, Music and Socio-Cultural Identity in Attic Vase Painting: Prolegomena to Future Research 38 (2013), 9-26

Album Covers of Sound Recordings

Nicola Bizzo, A Video-Iconographical Journey Through Queen’s Production 32 (2007), 205-224
Robert G.H. Burns, Depicting the “Merrie”: Historical Imagery in English Folk-Rock 35 (2010), 105-117
Benjamin Cawthra, Curating the Jazz Images: Lee Tanner’s Photographic Art World 46 (2021), 55-76
Ian Chapman, Luncheon on the Grass with Manet and Bow Wow Wow: Still Disturbing After All These Years 35 (2010), 95-104
Gerry Farrell, Images in Early Indian Gramophone Catalogues: Tradition and Transformation 23 (1998), 19-22

Artworks (interpretations) (chronologically by time period)

Middle Ages
Rosario Álvarez Martínez, Music Iconography of Romanesque Sculpture in the Light of Sculptors’ Work Procedures: The Jaca Cathedral, Las Platerías in Santiago de Compostela, and San Isidoro de León 27 (2002), 13-36
Eleonora M. Beck, Justice and Music in Giotto’s Scrovegni Chapel Frescoes 29 (2004), 38-51
Dagmar Hoffmann-Axthelm, Die Holzschnitzerin zu Lukas Cranachs Melancholia aus dem Jahre 1533 37 (2012), 191-206

 
Renaissance
Jordi Ballester, Music in the Sixteenth-Century Catalan Painting 31 (2006), 131-142
Biancamaria Brumana, Musical Knowledge of Vittore Carpaccio and His Visione di Sant’Agostino 47 (2022), 65-74
Mariagrazia Carlone, Gaudenzio Ferrari and the Musical Statues in Varallo 24 (1999), 89-95
Mariagrazia Carlone, A Lost Fresco by Gaudenzio Ferrari 30 (2005), 197-203
Nicoletta Guidobaldi, The Reception of “Roman” Antique Models in Early Renaissance Musical Imagery: Study Cases and Research Perspectives 48 (2023), 5-25
Grzegorz Kubies, Luxuria damnata in the Last Judgment of Jheronimus Bosch (and His Workshop) at the Akademie der Bildenden Künste in Vienna 46 (2021), 263-286
Grzegorz Kubies, Trumpets in the Last Judgment of Jheronimus Bosch (and his Workshop) at the Akademie der Bildenden Künste in Vienna, 47 (2022), 75-94.
Katherine Powers, Music-Making Angels in Italian Renaissance Painting: Symbolism and Reality 29 (2004), 52-63

 
Baroque
Naomi Joy Barker, “Diverse Passions”: Mode, Interval and Affect in Poussin’s Paintings 25 (2000), 5-24
Zdravko Blažeković, What Marsyas May Have Meant to the Cinquecento Venetians, or Andrea Schiavone’s Symbolism of Musical Instruments 26 (2001), 30-46
Stefania Macioce, Musica Picta: Painted Concerts by Pietro Paolini 48 (2023), 67-75
Matthias Stephan von Orelli, Giambattista Tiepolos Werk als Dokument der Inszenierungspraxis zeitgenössischer Opern 25 (2000), 56-78
Cristina Santarelli, Cardinals Del Monte and Montalto and a Rediscovered Painting (→ Suonatore di tiorba by Antiveduto Gramatica) 48 (2023), 45-51

 
Romanticism
Antanas Andrijauskas, Musical Paintings of Mikalojus Konstantinas Čiurlionis and Modernism 37 (2012), 249-264
Gabriele Busch-Salmen, Adolph Menzels »Flötenkonzert Friedrichs der Großen in Sanssouci«: Ein vertrautes Gemälde, 150 Jahre nach seiner Fertigstellung neu gesehen 28 (2003), 127-146
Daniela Castaldo, The Silent Music of Antiquity in Paintings of Lawrence Alma-Tadema 47 (2022), 167-196
Ian Chapman, Luncheon on the Grass with Manet and Bow Wow Wow: Still Disturbing After All These Years 35 (2010), 95-104
Rachel Coombes, The Sounding Body in the Musical Illustrations of Maurice Denis and Pierre Bonnard 48 (2023), 147-172
Alexandra Goulaki-Voutyra, Ingres: Apollo, Mozart and Music 40 (2015), 229-244
Erin Johnson-Hill, Romanticism, the Classical Muse, and the Beethovenian Gaze: A Changing Iconography of Musical Inspiration 33 (2008), 247-267
Laurence Libin, Philip Reinagle’s “Extraordinary Musical Dog” 23 (1998), 97-100
Joan Mut i Arbós, Sappho Recalled to Life by Music: Feminine Emotion and Raison d’État in Neo-Classical Napoleonic Painting 43 (2018), 21-48
Ruth Piquer Sanclemente & Gorka Rubiales Zabarte, Music Representation and Ideology in the Paintings of Francisco de Goya and His Contemporaries 34 (2009), 177-290
Walter Salmen, »Eine Bande von Musikanten«: Die Genese eines Gemäldes von Moritz von Schwind 26 (2001), 113-121
Ayana O. Smith, On Tupos: Iconography and Verisimilitude in Early Arcadia 34 (2009), 7-20
Tan Choon-Ying, Envisioning a Romantic Tragedy: Delacroix’s Dramatic Images of Othello 41 (2016), 223-236
Arabella Teniswood-Harvey, Whistler’s Nocturnes: A Case Study in Musical Modelling 35 (2010), 71-83
Arabella Teniswood-Harvey, Music and Cross-Cultural Exchange in the Art of Tom Roberts, Arthur Streeton and James McNeil Whistler 38 (2013), 89-100

 
Pre-Raphaelites
Suzanne Fagence Cooper, Playing the Organ in Pre-Raphaelite Paintings 29 (2004), 151-170
Henry Johnson, Dante Gabriel Rossetti and Japan: The Musical Instrument Depicted in The Blue Bower and A Sea Spell 30 (2005), 145-153
Karen Yuen, Fashioning Elite Identities: Dante Gabriel Rossetti, Edward Burne-Jones, and Musical Instruments as Symbolic Goods 39 (2014), 145-158

 
Modern Art
Anna Cazurra, Catalan Modernism Reflected in Paintings by Ramon Casas at the Gran Teatre del Liceu in Barcelona, 31 (2006), 153-163
Anna Cazurra, The Symbolism of the Muses of the Palau de la Música Catalana 27 (2002), 116-126
Galina Bakhtiarova, The Iconography of the Catalan Habanera: Indianos, Mulatas and Postmodern Emblems of Cultural Identity 35 (2010), 233-243
Stephen A. Bergquist, The Musical Paris of Auguste Brouet 43 (2018), 67-85
Richard C. Green, Bloch, Beethoven and Der Blaue Reiter 37 (2012), 275-290
Henry Johnson, Brushing up on Mutineers: Music with Art at Fletcher’s Mutiny Cyclorama, Norfolk Island 35 (2010), 119-132
Florence Le Doussal, Maurice Denis et Ernest Chausson: Deux âmes fraternelles éprises d’absolu 25 (2000), 103-113
Anno Mungen, Music Iconography of Modernism: From the Weimar Republic to Nazi Germany and Beyond 29 (2004), 256-264
Ruth Piquer Sanclemente, Symbolism and Identity: Musical Scenes in Spanish Paintings at the Turn of the Twentieth Century 44 (2019), 203-219
Cristina Santarelli, Female Archetypes in Belgian Surrealist Painting 36 (2011), 311-326
Cristina Santarelli, Disquieting Muses and Tired Troubadours: Giorgio de Chirico and Mediterranean Metaphysic 37 (2012), 265-274
Cristina Santarelli, From Vision to Sound: Morton Feldman and Abstract Expressionism 38 (2013), 223-242
Cristina Santarelli, From Figuration to Abstraction: Dance in the Paintings of Gino Severini 39 (2014), 167-180
Cristina Santarelli, From A Musician to A Quartet: Albert Moore between Classicism and the Aesthetic Movement 40 (2015), 245-254
Cristina Santarelli, L’éxphrasis come sussidio all’iconografia musicale: Funzione metanarrativa delle immagine nel romanzo moderno e contemporaneo 44 (2019), 221-238
Cristina Santarelli, Realism and Idealism in Juan Gris’s Still Lifes with musical Instruments 45 (2020), 217-229

 
Contemporary Art
Catherine S. Amidon, Enrico Riley: A Journey in Giant Steps 35 (2010), 255-260
Carola Bebermeier, The Arensberg Salon in Visual Representations: Chez Arensberg by André Raffray and the Historiography of Dada 45 (2020), 193-200
Monika Fink, Sound Sculptures and Sound Installations in the Evolution of Intermedia Art Forms 44 (2019), 239-251
Cristina Santarelli, Nouveau Realisme or “Musical Iconoclasm”? The Case of Arman 35 (2010), 245-254

Biography Studies

Stephen A. Bergquest, Francesco Bartolozzi’s Musical Prints 32 (2007), 177-187
Stephen A. Bergquist, Musical Images in the Recueil Jullienne 40 (2015), 297-310 [→ Jean de Jullienne (1686–1766)]
Stephen A. Bergquist, The Musical Paris of Auguste Brouet 43 (2018), 67-85
Stephen A. Bergquist, Joan Sloan and Angna Enters: Portraits of a Dance-Mime 45 (2020), 201-215
Stephen A. Bergquist, Gottfried Galston: A Forgotten Pianist 47 (2022), 211-224
Stephen A. Bergquist, Emil Orlik: The Musical Portrait Prints 48 (2023), 175-181
Pierangelo Castagneto, The Accordionists of the Ocean: The Music Journey of the Pezzolo Brothers 46 (2021), 94-117
David Hunter, Lubricious Facts, Pleasing Lies: Zoffany’s The Family of Sir William Young, Bart., a Conversation Piece Funded by Slavery 48 (2023), 127-146
Leslie Hansen Kopp, Music Forgotten and Remembered: The Life and Times of Emanuel Winternitz 29 (2004), 6-13
Chris Price, “Pictorially Speaking, so Ludicrous”: George IV on the Dance Floor 43 (2018), 49-65 [→ George IV, King of the United Kingdom]
Christopher J. Smith, Ethnomusicology in Oils: William Sidney Mount, “The First Atlantic Street Culture”, and the Invention of an American Vernacular 32 (2007), 189-203
Thomas Tolley, “Divorce a la mode”: The Schwellinberg Affair and Haydn’s Engagement with English Caricature 42 (2017), 273-307 [→ Joseph Haydn in London]
Heinz-Jürgen Winkler, Fascinated by Early Music: Paul Hindemith and Emanuel Winternitz 29 (2004), 14-19

Black Studies

Elena Ferrari-Barassi, Black Slaves’ Music and Dance in the Sixteenth and Seventeenth Centuries: Spanish, Italian and French Reflections 45 (2020), 87-114
Gianfranco Salvatore, From “Stranger” to “Strange”: Representations of Black African Musicians in Medieval and Early Modern Europe 47 (2022), 95-130
Christopher J. Smith, Ethnomusicology in Oils: William Sidney Mount, “The First Atlantic Street Culture”, and the Invention of an American Vernacular 32 (2007), 189-203

Caricatures

Stephen A. Bergquist, Some Nineteenth-Century Musical Caricatures 46 (2021), 287-306
Anita Breckbill, André Gill and Musicians in Paris in the 1860s and 1870s: Caricatures in La Lune and L’Éclipse 34 (2009), 215-228
Anna Maria Ioannoni Fiore, “Tipi… all’Opera”: Personages, Situations and Events of the Operatic Life in Nineteenth-Century Naples. The Point of View of Melchiorre de Filippis Delfico 34 (2009), 229-243
Chris Price, “Pictorially Speaking, so Ludicrous”: George IV on the Dance Floor 43 (2018), 49-65
Clair Rowden, Opera, Caricature and the Unconscious: Jules Massenet’s Thaïs, a Case Study 34 (2009), 274-289
David Francis Taylor, Coalition Dances: Georgian Caricature’s Choreographies of Power 36 (2011), 117-130
Thomas Tolley, “Divorce a la mode”: The Schwellinberg Affair and Haydn’s Engagement with English Caricature 42 (2017), 273-307 [→ Joseph Haydn in London]

Christianity

Angels
Jordi Ballester, An Unexpected Discovery: The Fifteenth-Century Angel Musicians of the Valencia Cathedral 33 (2008), 11-29
Licia Mari, Culture and Power of the Gonzaga Patronage: The Angelic Concert in the Dome of the Cathedral of Mantua (ca. 1599–1607) 37 (2012), 111-120
Katherine Powers, Music-Making Angels in Italian Renaissance Painting: Symbolism and Reality 29 (2004), 52-63
Cristina Santarelli, Il fregio con angeli musicanti di Trinidad e la musica nelle missioni gesuitiche del Paraguay 28 (2003), 119-125
Sławomira Żerańska-Kominek, Bird-Like Angels Making Music in Mary’s Garden: Gentile da Fabriano’s Madonna and Child with Saints 37 (2012), 177-190

 
Jesus
Olimpia Gołdys, Ein mysteriöser Spielmann: Zu den kulturgeschichtlichen Aspekten der »Spielmanns-Ikonographie« in den Volto-Santo-/Kümmernis-Darstellungen vom 13. bis zum 20. Jahrhundert 33 (2008), 149-167
Carolina Sacristán Ramírez, Singing the Eucharist to the Cithara of Jesus: Women, Music, and Intellectual Devotion in Painting from New Spain 45 (2020), 135-154
Walter Salmen, Jesus Christus, der himmlische Spielmann 33 (2008), 5-10

 
Saints
Elena Ferrari-Barassi, The Narrative About Saint Mary Magdalene in the Church of Cusiano, Italy 32 (2007), 102-112
Barbara Russano Hanning, From Saint to Muse: Representations of Saint Cecilia in Florence 29 (2004), 91-103
Licia Mari, Two Lunettes for the Altar-Piece in the Palace Basilica of Santa Barbara in Mantua 33 (2008), 112-122
Sabine Meine, Cecilia Without a Halo: The Changing Musical Virtus 29 (2004), 104-112
Charlotte Poulton, Heaven on Earth: Images of St. Cecilia as a Musician 48 (2023), 77-91
Holly Roberts, The Musical Rapture of Saint Francis of Assisi: Hagiographic Adaptations and Iconographic Influences 45 (2020), 72-86
Edo Škulj, Das älteste Bild der hl. Cäcilia in Slowenien 25 (2000), 79-86

 
Virgin Mary
José Maria Salvador Gonzalez & Candela Perina García, Exaltata super choros angelorum: Musical Elements in the Coronation of the Virgin in the Italian Trecento Painting 39 (2014), 61-86
José Maria Salvador-González, Musical Resonances in the Assumption of Mary and Their Reflection in the Italian Trecento and Quattrocento Painting 44 (2019) 79-96
Sarah Mahler Kraaz, Music for the Queen of Heaven in Early Fifteenth-Century Italian Paintings 39 (2014), 87-97
Licia Mari, “Ogni secolo ha carattere suo proprio”: The Coronation of the Virgin Mary in Mantua from 1640 to 1940 48 (2023), 27-43

Commedia del’arte

M A Katritzky, Stefanelo Botarga and Zan Ganassa: Textual and Visual Records of a Musical Commedia dell’arte Duo, In and Beyond Early Modern Iberia 44 (2019), 97-118

Comic Books

Chrysi Kyratsou, Rebetiko Encountering Coming Book 43 (2018), 209-231
Chan Ko-On 陳高安, Representation of Music and Dance in Manga 43 (2018), 233-245

Dance

Olive Baldwin, Thelma Wilson & Michael Burden, Images of Dancers of the London Stage, 1699–1800 36 (2011), 53-91
Michael Burden, Visions of Dancing at the King’s Theatre: Reconsidering London’s “Opera House” 36 (2011), 92-116
Elena Ferrari-Barassi, Iconography of Iconography: Dance in Ancient Roman Representations, Canova’s Works and Their Reproductions in Engravings 40 (2015), 45-78
Elena Ferrari-Barassi, Black Slaves’ Music and Dance in the Sixteenth and Seventeenth Centuries: Spanish, Italian and French Reflections 45 (2020), 87-114
Gianni Ginesi, Drawing the Other: The Images of the Malaspina Expedition (1789–1794) 44 (2019), 169-179
Alessandra Iyer, Śiva’s Dance: Iconography and Dance Practice in South and Southeast Asia 25 (2000), 25-32
Irmgard Jungmann, Tanzen im 15. Jahrhundert – Der Reigen in Deutschland: Realität oder Imagination? 28 (2003), 99-118
Metoda Kokole, Pictorial and Literary Testimonies Concerning the European Late Medieval Dances in Slovenia 23 (1998), 87-96
Letizia Gioia Monda, What Are We Talking About When We Talk About Videodance? 45 (2020), 259-265
Lian Mian, The scenes of music-making and dancing on the wall paintings of the Tang tombs in the Xi’an area 38 (2013), 243-258
Judith Milhous, Picturing Dance in Eighteenth-Century England 36 (2011), 29-52
Gaudenzio Ragazzi, Interpreting the Prehistoric Visual Sources for Dance 40 (2015), 311-327
Walter Salmen, Des Tanzfrevels angeklagt: Betrachtungen zu einem Kupferstich von Jan Saenredam (1596) 24 (1999), 85-88
Cristina Santarelli, Immagini della danza moresca in Piemonte 25 (2000), 39-50
Barbara Sparti, Inspired Movement versus Static Uniformity: A Comparison of Trecento and Quattrocento Dance Images 33 (2008), 39-51
David Francis Taylor, Coalition Dances: Georgian Caricature’s Choreographies of Power 36 (2011), 117-130
Jennifer Thorp, “Borrowed Grandeur and Affected Grace”: Perceptions of the Dancing-Master in Early Eighteenth-Century England 36 (2011), 9-28
Linda J. Tomko, Framing Turkish Dances 36 (2011), 131-159
Wang Ling 王玲, Images of Dance on Cangyuan Cliff Paintings and Their Creators 32 (2007), 154-168
Wang Ling 王玲, Images of Tage from Yunnan, China 36 (2011), 245-256

Emblems

María Paz López-Peláez Casellas, “Vos canitis surdis canitisque ligatis” o la respuesta de los religiosos ante el canto de las sirenas 32 (2007), 169-175
María Paz López-Peláez Casellas, “No la una si las dos”: Sympathetic Vibrations in Emblem Treatises 35 (2010), 145-156
Laurence Wuidar, Princely Iconography and Musical Power in Renaissance Emblems 37 (2012), 35-44
Sara González Castrejón, The Royal Temperament in Musical Emblems of Seventeenth-Century Spain 27 (2002), 79-86
Sara González Castrejón, An Iconography of Chaos: Music Images in the Royal Funerals of Philip III, Philip IV, and Charles II of Spain 31 (2006), 143-152

Festivals, Celebrations and Urban Music

Marita Fornaro Bordoli, The Uruguayan Carnival Stages of the First Half of the Twentieth Century between Transgression and “Measured Joy” 43 (2018), 123-140
Florence Gétreau, Street Musicians of Paris: Evolution of an Image 23 (1998), 62-76
Joseph S. Kaminski, The Yam Festival Celebrated by the Asante People in Kumase in 1817 41 (2016), 95-109
Licia Mari, “Ogni secolo ha carattere suo proprio”: The Coronation of the Virgin Mary in Mantua from 1640 to 1940 48 (2023), 27-43
Alessandra Mignatti, The Milanese Regio Ducal Theatre and the Festivals of 1747 42 (2017), 161-183
Candela Perpiñá García, The Musical Image of the Sea in the European Court Festivals During the Sixteenth and Seventeenth Centuries 37 (2012), 121-138
Emma Petrosyan Էմմա Պետրոսյան, Semantics of the Bronze Belts of the Kingdom of Bainili/Urartu 48 (2023), 205-214
Luís Manuel Correia de Sousa, The Evocation of Music in the Ephemeral Artworks: The Wedding Celebrations of King Pedro II and D. Maria Sofia of Neuburg in Lisbon, 1687 37 (2012), 83-100
Anna Tedesco, “Applausi festivi”: Music and the Image of Power in Spanish Italy 37 (2012), 139-160
Anna Valentini, Musicians in Early Seventeenth-Century Banqueting Scenes in Ferrara 38 (2013), 37-48

Iconographies

Janet I. Wasserman, A Schubert Iconography: Painters, Scultpros, Lithographers, Illustrators, Silhouettists, Engravers, and Otehrs known or Said to have Produced a Likenss of Franz Schubert 28 (2003), 199-241
Janet I. Wasserman, Felix Mendelssohn-Bartholdy & Fanny Mendelssohn Hensel: Portrait Iconographies 33 (2008), 317-371

Instruments (by time period)

Antiquity (and its later reception)
Paola D’Alconzo, Facing Antiquity, Back and Forth, in Eighteenth-Century Naples 40 (2015), 9-43
Angela Bellia, Images of Music in Magna Grecia: The Tomb of the Diver at Poseidonia (5th Century BCE) 39 (2014), 33-41
Cristina-Georgeta Alexandrescu, The Iconography of Wind Instruments in Ancient Rome: Cornu, Bucina, Tuba, and Lituus 32 (2007), 33-46
Cristina Ghirardini, Filippo Bonanni’s Gabinetto armonico and the Antiquarians’ Writings on Musical Instruments 33 (2008), 168-234
Emiliano Li Castro & Placido Scardina, The Double Curve Enigma 36 (2011), 203-218
Pablo Ozcáriz-Gil, Vitalio ballat cum est musicus: Graffiti with Musical Instruments in the Roman Empire 47 (2022), 35-48
Sylvain Perrot, Elephants and Bells in the Greco-Roman World: A Link between the West and the East? 38 (2013), 27-36
Sylvain Perrot, Croaking and Clapping: A New Look at an Ancient Greek Bronze Figurine (from Sparta) 43 (2018), 175-183
Giancarlo Rostirolla, Pier Leone Ghezzi disegnatore di antiche lire: Un excursus tra antiquaria, organologia, musicolografia e mito 35 (2010), 157-199
Nico Staiti, Tityrinoi and Totare, Calamauloi and Ciaramelle, Kerauloi and Cirauli 47 (2022), 49-64

 
Middle Ages
Jordi Ballester, Trumpets, Heralds and Minstrels: Their Relation to the Image of Power and Repression in the Fourteenth- and Fifteenth-Century Catalano-Aragonese Painting 43 (2018), 3-19
Angela Bellia, Twelfth-Century Musical Symbols in the Star-Studded Sky of King Ruggero II 37 (2012), 24-34
András Borgó, Die Musikinstrumente Mirjams in spätmittelalterlichen hebräischen Darstellungen 31 (2006), 175-193
Joachim Braun, The Iconography of the Organ: Change in Jewish Thought and Musical Life 27 (2003), 55-70
Zdravko Blažeković, The Understanding and Misunderstanding of Terminology and Iconography of Instruments in Fendulus’s Abridgment of Introductorum maius in astronomiam 23 (1998), 23-32
Camilla Cavicchi, Origin and Dissemination of Images of the Saint Chapel 44 (2019), 57-77 [→ position of the organ in the Sainte-Chapelle du Palais, Paris]
Mauricio Molina, “In tympano Rex Noster tympanizavit”: Frame Drums as Messianic Symbols in Medieval Spanish Representations of the Twenty-Four Elders of the Apocalypse 32 (2007), 93-101
Greta J. Olson, Angel Musicians, Instruments, and Late-Sixteenth-Century Valencia 27 (2002), 46-67
Luis Robledo, El órgano portativo del tríptico del Monasterio de Piedra (1390): Hipótesis sobre la disposición de su teclado 27 (2002), 37-45
Martin van Schaik, Ancient Marble Harp Figurines: The Search for a Stratified Context 23 (1998), 11-22
Patrick Tröster, Which Kind of Trumpet Did the Ménestrel de trompette Play in Late Gothic Alta Bands? 32 (2007), 84-92

 
Renaissance
Antonio Baldassarre, Die Lira da braccio im humanistischen Kontext Italiens 24 (1999), 5-28
Dorothea Baumann, Streichinstrumente des Mittelalters und der Renaissance: Bautechnische, dokumentarische und musikalische Hinweise zur Spieltechnik 24 (1999), 29-40
Mariagrazia Carlone, Lutes, Archlutes, Theorboes in Iconography 30 (2005), 75-87
Romà Escalas Llimona, Claviorgans Attributed to Laurentius Hauslaib in New York, Moscow and Barcelona 27 (2002), 87-100
Katherine Powers, The lira da braccio in the Angel’s Hands in Italian Renaissance Madonna Enthroned Paintings 26 (2001), 20-29
Crawford Young, Re-Awakening Mercury’s Cithara: A Closer Look at Federico’s Cetra 45 (2020), 25-51

 
Baroque
Patrizio Barbieri, John Ravenscroft and Bernardo Pasquini: The Art Collections and Instruments of Two Musicians in Late-Baroque Rome 36 (2011), 257-274
Herbert Heyde, Two European Wind Instruments in the Shape of a Dragon 32 (2007), 133-141
Jeffrey G. Kurtzman, Lessons Learned from the Iconography of Venetian Ceremonies: Claudio Monteverdi and trombe squarciate 32 (2007), 113-132
Stewart Pollens, Michele Todini’s Golden Harpsichord: Changing Perspectives 32 (2007), 142-151
Charlotte Poulton, The Sight of Sound: Musical Instruments in the Paintings of Pietro Paolini and Evaristo Baschenis 33 (2008), 123-135
María Elena Santos, Musical Instruments in The Woman of the Apocalypse by Cristóbal de Villalpando 31 (2006), 121-125

 
Classic & Romantic
Sing d’Arcy, The Magna Hispalensis and the Twin Organs of Frey Domingo de Aguirre and Luis de Vilches: Eighteenth-Century Seville and Its Mirror of Wonder 35 (2010), 218-232
Gerhard Doderer, Portuguese Organ Cases of the Eighteenth Century: Splendor and Effectiveness 27 (2002), 101-115
Ingrid E. Pearson, 18th- and 19th-Century Iconographical Representations of Clarinet Reed Position 25 (2000), 87-96

 
Romantic
Suzanne Fagence Cooper, Playing the Organ in Pre-Raphaelite Paintings 29 (2004), 151-170
Trevor Herbert, Selling Brass Instruments: The Commercial Imaging of Brass Instruments (1830–1930) and Its Cultural Messages 29 (2004), 213-226
Ivo Petricioli, Guslar među seljacima (1840) by Francesco Salghetti-Drioli 25 (2000), 97-102

 
Post-Romantic
Michele Del Prete, Sound Tresholds: Visual and Acoustic Values of the Fernwerk in Post-Romantic Organ Building and Architecture 42 (2017), 233-251

Instruments in Music Traditions

Africa
Rashid Epstein Adams, The Making of a National Instrument: Imagery, Symbolism and the Social Function of the Malagasy Valiha 43 (2018), 141-157
Rogério Budasz, Central-African Pluriarcs and Their Players in Nineteenth-Century Brazil 39 (2014), 5-31
Joseph S. Kaminski, The Iconography of Ivory Trumpets in Precolonial West Africa and Medieval Spain with Linguistic and Historical Evidences Implying Ancient Contexts 32 (2007), 63-83
Joseph S. Kaminski, The Yam Festival Celebrated by the Asante People in Kumase in 1817 41 (2016), 95-109

 
Americas
Monika Ciura, Drums in the Visual and Archaeological Records of the Maya in the Classic Period 46 (2021), 307-336
Mark Howell, Concerning the Origin and Dissemination of the Mesoamerican Slit-Drum 28 (2003), 45-54
Mark Howell, Sonic-Iconic Examination of Adorno Rattles from the Mississippian-Era Lake George Site 36 (2011), 231-244
Robert Starner, Two Mexican Bajones: Images of a Double Reed Instrument in Rural Michoacán 31 (2006), 105-120
Matthias Stöckli, Trumpets in Classic Maya Vase Painting: The Iconographic Identification of Instrumental Ensembles 36 (2011), 219-230

 
Albania
Ardian Ahmedaja, The Lahute between Everyday Practice and Symbolism 38 (2013), 144-160

 
China
Lars Christensen, Imag(in)ing Musical Instruments: Prescriptive and Descriptive Iconography in the Northern Song Dynasty 43 (2018), 101-112
Gu Xingli 顾兴立, Evidence for the Existance of the Jian Drum Dance 38 (2013), 161-170
Huang Pei-Ling 黃佩玲, Devotional Buddhism, Sinicization, and the Politics of Representation in the Northern Dynasties Music Iconography at Dunhuang 38 (2013), 171-190
Colin Huehns, Lovely Ladies Stroking Strings: Depictions of Huqin in Chinese Export Watercolours 28 (2003), 5-44
Bo Lawergren, The Iconography and Decoration of the Ancient Chinese Qin-Zither (500 BCE to 500 CE) 32 (2007), 47-62
Li Mei 李玫, Adaptations of Harps Reflected in Murals of the Chinese Western Regions 39 (2014), 43-55
J.P. Park, Instrument as Device: Social Consumption of the Qin Zither in Late Ming China (1550–1644) 33 (2008), 136-148
Wang Ling 王玲, Bronze Instruments of the Dian Kingdom and Their Images in Scenes of Dance and Music-Making 30 (2005), 17-34
Yang Yuanzheng 楊元錚, A Manual of Qin Types of Past Dynasties: A Speculative Genealogy? 43 (2018), 113-122
Yang Yuanzheng 楊元錚, Finding the Key: Tuning Keys Discovered from the Imperial Collection of Emperor Huizong (r. 1100–1126) 40 (2015), 275-284

 
Japan
Mayumi Miyazaki 宮崎 まゆみ, The History of Musical Instruments in Japan and Visual Sources 24 (1999), 51-55
Susumu Kashima 鹿島 享, Depictions of Kugo Harps in Japanese Buddhist Paintings 24 (1999), 56-67

Jazz

Alan John Ainsworth, Photography and the Ecology of Jazz 46 (2021), 32-53
Benjamin Cawthra, Curating the Jazz Images: Lee Tanner’s Photographic Art World 46 (2021), 55-76
Heather Pinson, The Consumable Aesthetic: A Decade of Visualizing Jazz 46 (2021), 77-93

Manuscript Studes

Antonio Baldassarre, Envisioned History or “His Story”: Warfare, Musical Culture, and Imagination in the Lucerne Chronicle (1511–13) by Diebold Schilling the Younger 41 (2016), 9-63
Stefano Baldi, The Ducal Chapel of Savoy in Les Très Riches Heures du Duc de Berry 37 (2012), 57-70
Alla Bayramova, Musical Iconography in the Miniatures illustration Nizami’s Khamsa 45 (2020), 115-134
Rosina Buckland, Sounds of the Psalter: Orality and Musical Symbolism in the Luttrell Psalter 28 (2003), 71-97
Camilla Cavicchi, Origin and Dissemination of Images of the Saint Chapel 44 (2019), 57
Paola Dessì, Musical Ensembles in the libri amicorum of Hans Hoch Dated Rome 1618–1656 48 (2023), 93-105
Svetlana Kujumdžieva, Ασομεν τω κυριω: The Miniature Depicting the Song of Moses in Manuscript Vat. Gr. 752 26 (2001), 92-106
Donatella Melini, Musical Iconography in the Visconti Codices 37 (2012), 45-56
Maria Francesca P. Saffiotti, Disiecta membra from a Sistine Chapel Choir Book: MS Cappella Sistina 11 Illuminated by Vincent Raymond de Lodève 23 (1998), 33-48
Cristina Santarelli, Riflessi della Milano musicale sforzesca nel codice Varia 124 della Biblioteca Reale di Torino 33 (2008), 30-38

Military Music

Helen Barlow, The Military Band Images of George Scharf 37 (2012), 233-248
Helen Barlow, From the Band of Musick to the Concert Party, ca. 1780-1918: Musical Entertainment in the British army 41 (2016), 83-94
Trevor Herbert, Trumpets, drums and the sources for their symbolic authority in Britain 41 (2016), 65-81

Museum Studies

Maia Wellington Gothan, Music in Museums: Strange Beginnings of the Avant-Garde 39 (2014), 195-200
Eric de Visscher, Sight and Sound: From a Museum of Instruments to a Museum of Music 39 (2014), 237-241
Noel Lobley, Sound Galleries: Curating the Experience of Sound and Music In and Beyond Museum 39 (2014), 243-255
Sarah Deters, The History and Future of Public Programming at Musical Instrument Museum Edinburgh 39 (2014), 257-266
Simon Wyatt, Music in the Museum: Intangible Influences 39 (2014), 267-279
Enrico Tabellini, Installation, Technology and Education in the Communication Strategies of the Museo Internazionale e Biblioteca della Musica di Bologna 39 (2014), 281-292
András Varsányi, Making Museum Audible: Reflections on Implementing a Soundlab within a Museum of Musical Instruments 39 (2014) 293-309

Music Notation

Marina Buj Corral, Rediscovering Graphic Notation in the Iberian Peninsula: Catalan Composers in a Contact with the International Avant-Garde 44 (2019), 253-264
Thomas Metcalf, Imagetext, Indeterminacy, and Iconoclasm: What do Graphic Scores Want? 48 (2023), 193-204
Gaia Prignano, Music Theories and Identity Issues: Depicting Canons chez Alfonso I d’Este 45 (2020), 53-71

Music in Private Residences

Antonio Baldassarre, Music, Painting, and Domestic Life: Hortense de Beauharnais in Arenenberg 23 (1998), 49-61
Francesca Cannella, Aristocratic Residences as Performing Places in Seventeenth- and Eighteenth-Century Apulian Fiefs 42 (2017), 109-119
Francesca Cannella, The Ephemeral Baroque of the Exequies for Beatrice Acquaviva d’Aragona (Cavallino–Lecce, 1637) 37 (2012), 101-110
Pilar Diez de Corral Corredoira, Il dilettevole trattenimento: El teatro del Cardinal Troyano Acquaviva en el palacio de Espana en Roma 42 (2017), 59-69
Daniela Castaldo, Amico Aspertini’s Apollo and Muses in the Isolani Castle at Minerbio (Bologna) 37 (2012), 71-82
Christopher Cook, Entertainment in a Box: Domestic Design and the Radiogram and Television 35 (2010), 261-270
Laura Moretti, “Quivi si esserciteranno le musiche”: La sala della musica presso la “corte” padovana di Alvise Cornaro 35 (2010), 135-144
Arnaldo Morelli, Musicians’ Portraits in Musicians’ Homes in Early Modern Italy 48 (2023), 53-66
Laura Moretti, L’immagine della musica nello «studio» del palazzo veronese di Mario Bevilacqua (1536–1593) 40 (2015), 285-296

Music Theory

Susan Forscher Weiss, Disce manum tuam si vis bene discere cantum: Symbols of Learning Music in Early Modern Europe 30 (2005), 35-74
Walter Kurt Kreyszig, The Significance of Iconography in the Print Culture of the Late-Fifteenth-Century Music Theoretical Discourse: The Theoricum opus musice discipline (1480) and Theorica musice (1492) of Franchino Gaffurio in the Context of His Trilogy 35 (2010), 53-70

Musical Compositions Related to Artworks

Theodore Albrecht, The Musicians in Balthasar Wigand’s Depiction of the Performance of Haydn’s Die Schöpfung, Vienna, 27 March 1808 29 (2004), 123-133
Maria Teresa Arfini, Abstract Film as Viewable Music: Early Experiments of Hans Richter, Walther Ruttmann, and Oskar Fischinger 38 (2013), 213-222
Maria Teresa Arfini, Around [Mendelssohn Bartholdy’s] Antigone: The Iconography and Music in the German Revival of the Classical Tragedy 40 (2015), 203-215
Maria Teresa Arfini, Musical Landscape: The Correspondences between Music and Painting in Early-Nineteenth-Century Germany 39 (2014), 125-144
Allan W. Atlas, I.J. Belmont’s “Color-Music Expressions” (Pt 1): Vaughan Williams on Canvas 36 (2011), 327-345
Antonio Baldassarre, “Among the Best Striving Today, There are Secret Relationships”: The Kandinskij–Schoenberg Connection Reconsidered 29 (2004), 234-255
Eleonora M. Beck, Revisiting Dufay’s Saint Anthony Mass and Its Connection to Donatello’s Altar of Saint Anthony of Padua 26 (2001), 5-19
Anna Harwell Celenza, Music and the Vienna Secession, 1897–1902 29 (2004), 203-212
Giulia Degano & Rodrigo Herrera Chávez, Towards New Artistic Paths Within Contemporary Synesthetic Research: Marco De Biasi’s Phonochromatic System 45 (2020) 231-258
Monika Fink, Farb-Klänge und Klang-Farben im Werk von Olivier Messiaen 28 (2003) 163-172
Monika Fink, Musikalische Bildreflexionen: Kompositionen nach Guernica von Pablo Picasso 30 (2005), 183-197
Monika Fink, Musical Compositions Based on Rembrandt’s Works 33 (2008), 268-281
Monika Fink, Musical Compositions Based on Francisco de Goya’s Desastres de la guerra 39 (2014), 181-291
Monika Fink, Polyphony in Image and Sound 42 (2017), 367-374 [→ compositions inspired by works of Paul Klee]
Timothy S. Flynn, The Classical Reverberations in the Music and Life of Camille Saint-Saëns 40 (2015), 255-266
Charles Frederick Frantz, “Le Décor Symbolique”: Claude Debussy and Emile Gallé 29 (2004), 171-187
Irene Guletsky, Manus Mysterialis: The Symbolism of Form in the Renaissance Mass 33 (2008), 69-96
Laurence Le Diagon-Jacquin, A Comparative Analysis of the Visual Arts and Music According to Panofsky: The Case of Liszt 30 (2005), 120-132
Evangelia Mitsopoulou, Liszt’s and Genelli’s Dante-Symphonie Project 38 (2013), 201-212
Nancy November, Theater Piece and Cabinetstück: Nineteenth-Century Visual Ideologies of the String Quartet 29 (2004), 134-150
Nancy November, Picturing Nineteenth-Century String Quartet Listeners 41 (2016), 237-248
Eftychia Papanikolaou, Brahms, Böcklin, and the Gesang der Parzen 30 (2005), 154-164
Aurèlia Pessarrodona, Josep Soler’s Compositions Inspired by Dürer and Murillo 31 (2006), 165-174
Clair Rowden, Opera, Caricature and the Unconscious: Jules Massenet’s Thaïs, a Case Study 34 (2009), 274-289
Michael Russ, Returning to the Exhibition: Musorgskij’s Pictures Reconsidered 39 (2014), 215-236
Dujka Smoje, Colors of Bach’s Music: Farbsymphonien in Jakob Weder’s Painting 29 (2004), 265-272

Mythological Symbolism

Jordi Ballester, Music and Poetics of Ancient Rome in the Work of the Spanish Painter Mariano Fortuny 40 (2015), 217-228
Zdravko Blažeković, What Marsyas May Have Meant to the Cinquecento Venetians, or Andrea Schiavone’s Symbolism of Musical Instruments 26 (2001), 30-46
Francesca Cannella, “The Heroes of the Fabulous History and the Inventions Ennobled by Them”: The Myth of the Argonauts between Visual Sources and Literary inventio 40 (2015), 191-202
Daniela Castaldo, Amico Aspertini’s Apollo and Muses in the Isolani Castle at Minerbio (Bologna) 37 (2012), 71-82
Anna Maria Ioannoni Fiore, Neoclassica Influences in the Depictions of Landscapes on Castelli Maioliche: The Ethical Quality of Music among Myths and Ancient Ruins 40 (2015), 173-190
Joan Mut i Arbós, Sappho Recalled to Life by Music: Feminine Emotion and Raison d’État in Neo-Classical Napoleonic Painting 43 (2018), 21-48
María Isabel Rodríguez López, Victory, Triumph, and Fame as the Iconic Expressions of the Courtly Power 37 (2012), 9-23
María Isabel Rodríguez López & Claudina Romero Mayorga, The Reception of Hellenistic Musical Iconography in the Iberian Art: The Patera of Santisteban del Puerto 44 (2019), 5-17
Walter Salmen, The Muse Terpsichore in Pictures and Texts from the 14th to 18th Century 23 (1998), 79-86
Ellen Van Keer, The Myth of Marsyas in Ancient Greek Art: Musical and Mythological Iconography 29 (2004), 20-37

Opera Staging and Set Design

Marina Bagarić, Pavel Froman’s Stage Designs for the Hrvatsko Narodno Kazalište in Zagreb 30 (2005), 166-182
Peter Beudert, Stage Painters at the Paris Opéra in the Nineteenth Century 31 (2006), 63-72
Maria Ida Biggi, Borsato, Bagnara and Basoli: Archaeological References and Reverberations on the Venetian and Bolognese Neoclassical Stages 40 (2015), 99-123
Diana Blichmann, The Temple of Jupiter Stator in La Clemenza di Tito by Pietro Metastasio 40 (2015), 139-156
Diana Blichmann, Atlas with the Celestial Globe in the Stage Design of La clemenza di Tito as a Symbol of Historical Power: The Portuguese Exploration of Brazil and the Political Propaganda at the Lisbon Court Opera in 1755 42 (2017), 141-159
Diana Blichmann Water Symbols in the Stage Design of Alessandro nell’Indie: The Portuguese Exploration of India and Political Propaganda at the Lisbon Royal Court Opera in 1755 44 (2019), 139-168
Laura Citti, The “Messa in Scena” of the Casa Musicale Sonzogno: An Iconography of Stage Direction at the End of the Nineteenth Century 34 (2009), 245-253
Samuel N. Dorf, Seeing Sappho in Paris: Operatic and Choreographic Adaptations of Sapphic Lives and Myths 34 (2009), 291-310
Christine Fischer, Engravings of Opera Stage Settings as Festival Books: Thoughts on a New Perspective of Well-Known Sources 34 (2009), 73-88
Bruno Forment, Trimming Scenic Invention: Oblique Perspective as Poetics of Discipline 34 (2009), 31-43
Bruno Forment, Jumbo-Sized Artifacts of Operatic Practice: The Opportunities and Challenges of Historical Stage Sets 38 (2013), 115-126
Olga Jesurum, Set Designs for Italian Operas by Romolo and Tancredi Liverani 31 (2006), 51-62
Olga Jesurum, From Giuseppe Rossi to Primo Conti: Italian Set Designs for Verdi’s Un Ballo in Maschera in the Nineteenth and Twentieth Centuries 34 (2009), 254-273
Feng-Shu Lee 李奉書, Tangible Phantom: Wagner’s Re-Reading of Phantasmagoria in Das Rheingold 47 (2022), 153-166
Nicole Lallement, Iconography of Rameau’s Opera: The Dardanus Example 34 (2009), 165-175
Tatjana Marković, Iconography as a Sign: The Case of Stage-Music Semiosis about Koštana 31 (2006), 87-93
Donatella Melini, “Or che i Numi son vinti, a me la cetra, a me l’altar!” Kithara Constructed for the Premiere of Arrigo Boito’s Nerone 40 (2015), 267-272
Anno Mungen, Entering the Musical Picture: Richard Wagner and 19th-Century Multimedia Entertainments 26 (2001), 123-129
Gabriella Olivero, The “New” Babylon by Alessandro Sanquirico 40 (2015), 125-138
Matthias Stephan von Orelli, Giambattista Tiepolos Werk als Dokument der Inszenierungspraxis zeitgenössischer Opern 25 (2000), 56-78
John A. Rice, Mid–Eighteenth-Century Opera Seria Evoked in a Print by Marc’Antonio dal Re 34 (2009), 153-164
Sergio Marcelo de los Santos, A Picture—An Opera: The Consul by Gian Carlo Menotti and Uruguay’s Recent Past 47 (2022), 225-238
Jana Spáčilová & Štěpán Vácha, New Insights into the Performance of Fux’s Opera Costanza e Fortezza in Prague in 1723 34 (2009), 44-72
Mercedes Viale Ferrero, L’ultimo giorno di Pompei nell’immaginazione di Alessandro Sanquirico (ovvero: Come ricostruire Alessandro Sanquirico (ovvero: Come ricostruire una città per poterla distruggere) 40 (2015), 79-97

Orient(alism)

Antonio Baldassarre, Being Engaged, not Informed: French “Orientalists” Revisited 38 (2013), 63-88
Henry Johnson, Dante Gabriel Rossetti and Japan: The Musical Instrument Depicted in The Blue Bower and A Sea Spell 30 (2005), 145-153
Raquel Jiménez Pasalodos & Juan P. Arregui, Musical Iconographies and the Construction of Historical Narratives: The Museo Oriental of Valladolid 38 (2013), 101-114
Charles A. Kennedy, “Becky from Babylon” and Other Oriental Beauties: Images of Middle Eastern Women in Twentieth-Century Sheet Music 42 (2017), 353
Dorit Klebe, Effeminate Professional Musicians in Sources of Ottoman-Turkish Court Poetry and Music of the Eighteenth and Nineteenth Centuries 30 (2005), 97-116
Darja Koter, Turqueries and Chinoiseries with Musical Symbols: Examples from Slovenia 29 (2004), 113-122
Hiroyuki Minamino, European Musical Instruments in Sixteenth-Century Japanese Paintings 24 (1999), 41-50
Anna Mouat & Melissa Mouat, European Perceptions of Chinese Culture as Represented on the eighteenth-Century Ballet Stage 38 (2013), 49-62
Sławomira Żerańska-Kominek, Musicians in the Ottoman Costume Album from the Collection of Stanislaw II August Poniatowski, Poland’s Last King 41 (2016), 189-202

Performance

Theodore Albrecht, Picturing the Players in the Pit: The Orchestra of Vienna’s Kärntnertor Theater, 1821–1822 34 (2009), 203-213
Daniela Castaldo, Music and Dance in Roman Theatre: The Ancient Pantomime 45 (2020), 5-24
Christoph Riedo, How Might Arcangelo Corelli Have Played the Violin? 39 (2014), 103-118
Alexandra Goulaki-Voutyra, Conventions, Formulae and Observable Reality in Ancient Music Imagery 43 (2018), 185-208
Chris Price, The Canterbury Catch Club Print: A Performance of Class 42 (2017), 211-222

Photography and Music

Alan John Ainsworth, Photography and the Ecology of Jazz 46 (2021), 32-53
Michael Broyles, Planes, Perspectives, and Tonalities: Charles Ives’s and lee Friedlander’s Attack on the Renaissance 46 (2021), 161-171
Benjamin Cawthra, Curating the Jazz Images: Lee Tanner’s Photographic Art World 46 (2021), 55-76
Lindsey Macchiarella, Early French Modernism Across Modalities: Erik Satie and Eugène Atget 42 (2017), 309-328
Lindsey Macchiarella, Reich and Gursky: Parallel Minimalist and Post-Minimalist Narratives in Music and Photography 46 (2021), 173-181
Heather Pinson, The Consumable Aesthetic: A Decade of Visualizing Jazz 46 (2021), 77-93
Goffredo Plastino, Clouds: Notes on Photography and Music 46 (2021), 8-31

Portraiture

Carol Padgham Albrecht, The Face of the Vienna Court Opera, 1804–1805 34 (2009), 191-202
Jordi Ballester, Beethoven Depictions in the Palau de la Música Catalana and Their Symbolic Role in Barcelona’s Musical Context at the Beginning of the 20th Century 47 (2022), 23-34
Stephen A. Bergquist, Ten Musical Portraits 35 (2010), 271-289
Stephen A. Bergquist, A Souvenir of the Second Empire 36 (2011), 301-310
Stephen A. Bergquist, Some Portraits of Beethoven and His Contemporaries 37 (2012), 207-232
Stephen A. Bergquist, Scapino: A Portrait of Francesco Gabrielli 39 (2014), 98-101
Stephen A. Bergquist, A Piece of Musical Napoleoniana 41 (2016), 215-221 [→ Elisabetta Gafforini (1801)]
Stephen A. Bergquist, The Musical Portraits of Augustin de Saint-Aubin 42 (2017), 255-271
Stephen A. Bergquist, Four Centuries of String Players in Portrait Prints 44 (2019), 181-202
Stephen A. Bergquist, Joan Sloan and Angna Enters: Portraits of a Dance-Mime 45 (2020), 201-215
Stephen A. Bergquist, Women at the Keyboard: The World of Domestic Music-Making 48 (2023), 107-125
Lorenzo Bianconi, Corrado Giaquinto’s Farinelli: Disdained Luxury, Intact Loyalty 47 (2022), 131-154
Natalia Bieletto-Bueno, Street Musicians in Early Mexican Photography and the Making of the Urban Experience 46 (2021), 140-160
Biancamaria Brumana, The Castrato Singer Francesco Ceccarelli: His Friendship with the Mozart Family and a Portrait from the Salzburg Period 39 (2014), 119-124
Michael Burden, Imaging Mandane: Character, Costume, Monument 34 (2009), 107-137
Mariagrazia Carlone, Copies, Replicas, and Variations in Paintings with a Musical Subject 26 (2001), 58-74
Mariagrazia Carlone, Portraits of Lutenists 29 (2004), 64-76
Alan Davison, The Musician in Iconography from the 1830s and 1840s: The Formation of New Visual Types 28 (2003), 147-162
Alan Davison, Franz Liszt and the Physiognomic Ideal in the Nineteenth Century 30 (2005), 133-144
Alan Davison, Thomas Hardy’s Portrait of Joseph Haydn: A Study in the Conventions of Late Eighteenth-Century British Portraiture 33 (2008), 235-246
Alan Davison, Collecting Musical Prints in Late Eighteenth-Century England: Taste, Self-Improvement and John Bland’s “Portrait series” 41 (2016), 203-213
Florence Gétreau, Romantic Pianists in Paris: Musical Images and Musical Literature 29 (2004), 188-202
Florence Gétreau, The Portraits of Rameau: A Methodological Approach 36 (2011), 275-300
Berta Joncus, “A Likeness Where None Was to Be Found”: Imagining Kitty Clive (1711–1785) 34 (2009), 89-106
Laurence Libin, Musical Instruments in Two Portraits by José Campeche 31 (2006), 127-131
Holly Mathieson, The “True Wagnerian” and the English Imagination: The Image of Hans Richter 34 (2009), 311-316
Holly Mathieson, National Ambiguity in the Portraiture of Sir Henry Wood: A Case Study in Iconographic Method 35 (2010), 85-93
Arnaldo Morelli, Portraits of Musicians in Sixteenth-Century Italy: A Specific Typology 26 (2001), 47-57
Arnaldo Morelli, Bernardo Pasquini and His Portraits: From Their Origins to the Present Day 39 (2014), 201-214
Goffredo Pastino, Camera Sounds: Photographers and Street Musicians 46 (2021), 118-139
H. Colin Slim, Joseph Weber’s Diva, pinxit 1839: Visual, Musical, Societal Considerations 31 (2006), 5-49
Katherine Wallace, Lorenzo Costa’s Concert: A Fresh Look at a Familiar Portrait 33 (2008), 52-68
Emile Wennekes, Mengelberg Conducts Oberon: The Conductor as Actor, Anno 1931 34 (2009), 317-335
Jed Wentz, Deformity, Delight and Dutch Dancing Dwarfs: An Eighteenth-Century Suite of Prints from the United Provinces 36 (2011), 161-200

Public Art Depicting Music

Djennet Ataeva, The Iconography of Musical Instruments in St. Petersburg’s Monumental and Decorative Sculpture 29 (2004), 227-233
Eleonora M. Beck, Representations of Music in the Astrological Cycle of the Salone della Ragione in Padua 24 (1999), 68-84
Anna Cazurra, The Symbolism of the Muses of the Palau de la Música Catalana 27 (2002), 116-126
Marin Marian-Bălaşa, Music on Money: Legitimation and Cultural Representation 28 (2003), 173-190
Luzia Rocha, Al zulaiju: Music in the Ceramic Tiles of São Vicente de Fora Monastery in Lisbon 33 (2008), 301-315
Walter Salmen, Bilder aus der Musizierpraxis um 1530 an einem Prunkerker in Innsbruck 25 (2000), 51-55
Walter Salmen, Kabinettscheiben (vitrail civil): Musikikonographisch betrachtet 26 (2001), 107-112
Walter Salmen, Musical Scenes in and on Town Houses of the Fourteenth to Sixteenth Centuries 29 (2004), 77-89

Religious Spaces

Antiquity
Amparo Arroyo de la Fuente, The Goddess Meret: Iconography of a Personification of Music in Ancient Egypt 47 (2022), 5-23
Claudina Romero Mayorga, Music and Theatrical Performance in the Mysteries of Mithras 42 (2017), 33-45
Jay Kappraff & Ernest G. McClain, The System of Proportions of the Parthenon: A Work of Musically Inspired Architecture 30 (2005), 5-16

 
Asian Temple Art
Martin Knust, Urged to Interdisciplinary Approaches: The Iconography of Music on the Reliefs of Angkor Wat 35 (2010), 37-52
Martin Knust, Towards a Social History of Music in Ancient Angkor: The Iconography of Music on the Bayon Temple Carvings 38 (2013), 127-143
Akiko Nozawa & Yohanes Hanan Pamungkas, Descriptions of Music Making and Theatrical Dynamism: The Reliefs of Candi Penataran in East Java, Indonesia 43 (2018), 159-174
Terry E. Miller, The Uncertain Musical Evidence in Thailand’s Temple Murals 32 (2007), 5-32

 
European Christianity
Josep-Joaquim Esteve Vaquer & Cristina Menzel Sansó, Iconografía musical de los siglos XIV y XV en la catedral de Mallorca 27 (2002), 68-78
Elena Ferrari-Barassi, The Narrative About Saint Mary Magdalene in the Church of Cusiano, Italy 32 (2007), 102-112
Licia Mari, Two Lunettes for the Altar-Piece in the Palace Basilica of Santa Barbara in Mantua 33 (2008), 112-122

 
Pakistani Tombs
Zulfiqar Ali Kalhoro, Representations of Music and Dance in the Islamic Tombs of Sindh, Pakistan 35 (2010), 201-217

Sheet Music

Melissa M. Zapata-Rodríguez, Minstrelsy: Iconography of Resistance During the American Civil War 41 (2016), 111-127
Michael Saffle, Images of China and Japan in Turn-of-the-Last-Century American Sheet Music 42 (2017), 329-340
James Deaville, Le chant du désert: Images of the Arab-Islamic World in Late Nineteenth-Century French Chansons and Piano Music 42 (2017), 341-351
Charles A. Kennedy, “Becky from Babylon” and Other Oriental Beauties: Images of Middle Eastern Women in Twentieth-Century Sheet Music 42 (2017), 353

Theatrical Spaces & Architecture

Zdravko Blažeković, On the Margins of Performance: Theaters, Their Decorations and Audience Habits 43 (2018), 6-16
Michael Burden, A Return to London’s Opera House in 1782 42 (2017), 185-194
Michael Burden, London’s Opera House in Colour 1705–1844, with Diversions in Fencing, Masquerading, and a Visit from Elisabeth Félix 44 (2019), 19-56
Margaret R. Butler, “Olivero’s” Painting of Turin’s Teatro Regio: Toward a Reevaluation of an Operatic Emblem 34 (2009), 138-152
John Z. McKay, Musical Curiosities in Athanasius Kircher’s Antiquarian Visions 40 (2015) 157-172
Jana Laslavíková, Theater Decorations in Pressburg in the Eighteenth and Nineteenth Centuries 45 (2020), 155-191
Danièle Lipp, “Este es vuestro Carlos, este es vuestro Tey”: Representation of Political Propaganda in Musical Life at the Habsburg Court in Barcelona during the War of Spanish Succession (1705-1713) 42 (2017), 97-108
Stefania Macioce, Theatre as the Representative Scene of the Power of Court: The Fifteenth- and Sixteenth-Century Italian exempla 42 (2017), 47-58
Alessandra Mignatti, The Milanese Regio Ducal Theatre and the Festivals of 1747 42 (2017), 161-183
Anno Mungen, Orchestra: Klangkonzepte für Opernhäuser in Berlin und Dresden 26 (2001), 131-137
Jean-Georges Noverre, Observations sur la construction d’une nouvelle salle d’opera 42 (2017), 195-210
Giuseppina Raggi, The Queen of Portugal Maria Anna of Austria and the Royal Opera Theaters by Giovanni Carlo Sicinio Galli Bibiena 42 (2017), 121-140
Giuseppina Raggi, The Lost Opportunity: Two Projects of Filippo Juvarra Concerning Royal Theaters and the Marriage Policy between the Courts of Turin and Lisbon (1719–1722) 44 (2019), 119-137
María Isabel Rodríguez López, The Relief Decorations of the Ancient Roman Theater: The Case of Sabratha 42 (2017), 17-31
Maia Sigua, The Curtains of Tbilisi Opera House: Two Symbols, One Story 42 (2017), 223-231
Andrea Sommer-Mathis, The Imperial Court Theater in Vienna from Burnacini to Galli Bibiena 42 (2017), 71-96