Syllabus for teaching
a course on music iconography

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
Antonio Baldassarre, Reflections on Methods and Methodology in Music Iconography 25 (2000), 33
Ann Buckley, Music Iconography and the Semiotics of Visual Representation 23 (1988), 5
Luis Antonio Gómez Gómez, Research Methodology of Music Iconography in Mixtec Pre-Hispanic Codices 31 (2006), 95
Liu Yong, When Mural Paintings Cannot Provide Iconographic Evidence? 39 (2014), 57
Simon Shaw-Miller, Imago Musicae: Imaging Music from Ladybird to Wittgenstein 37 (2012) 161
Theodor E. Ulieriu-Rostás, Music and Socio-Cultural Identity in Attic Vase Painting: Prolegomena to Future Research. I 38 (2013), 9

Album Covers of Sound Recordings

Nicola Bizzo, A Video-Iconographical Journey Through Queen’s Production 32 (2007), 205
Robert G.H. Burns, Depicting the “Merrie”: Historical Imagery in English Folk-Rock 35 (2010) 105
Ian Chapman, Luncheon on the Grass with Manet and Bow Wow Wow: Still Disturbing After All These Years 35 (2010), 95
Gerry Farrell, Images in Early Indian Gramophone Catalogues: Tradition and Transformation 23 (1988), 19

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
Eleonora M. Beck, Justice and Music in Giotto’s Scrovegni Chapel Frescoes 29 (2004), 38
Mariagrazia Carlone, A Lost Fresco by Gaudenzio Ferrari 30 (2005), 198
Dagmar Hoffmann-Axthelm, Die Holzschnitzerin zu Lukas Cranachs Melancholia aus dem Jahre 1533 37 (2012), 191

 
Renaissance
Jordi Ballester, Music in the Sixteenth-Century Catalan Painting 31 (2006), 132
Mariagrazia Carlone, Gaudenzio Ferrari and the Musical Statues in Varallo 24 (1999), 89
Mariagrazia Carlone, A Lost Fresco by Gaudenzio Ferrari 30 (2005), 198
Katherine Powers, Music-Making Angels in Italian Renaissance Painting: Symbolism and Reality 29 (2004), 52

 
Baroque
Naomi Joy Barker, “Diverse Passions”: Mode, Interval and Affect in Poussin’s Paintings 25 (2000), 5
Zdravko Blažeković, What Marsyas May Have Meant to the Cinquecento Venetians, or Andrea Schiavone’s Symbolism of Musical Instruments 26 (2001), 30
Matthias Stephan von Orelli, Giambattista Tiepolos Werk als Dokument der Inszenierungspraxis zeitgenössischer Opern 25 (2000), 56

 
Romanticism
Antanas Andrijauskas, Musical Paintings of Mikalojus Konstantinas Čiurlionis and Modernism 37 (2012), 249
Gabriele Busch-Salmen, Adolph Menzels »Flötenkonzert Friedrichs der Großen in Sanssouci«: Ein vertrautes Gemälde, 150 Jahre nach seiner Fertigstellung neu gesehen 28 (2003), 125
Ian Chapman, Luncheon on the Grass with Manet and Bow Wow Wow: Still Disturbing After All These Years 35 (2010), 95
Alexandra Goulaki-Voutyra, Ingres: Apollo, Mozart and Music 40 (2015), 229
Erin Johnson-Hill, Romanticism, the Classical Muse, and the Beethovenian Gaze: A Changing Iconography of Musical Inspiration 33 (2008), 247
Joan Mut i Arbós, Sappho Recalled to Life by Music: Feminine Emotion and Raison d’État in Neo-Classical Napoleonic Painting 43 (2018), 21
Ruth Piquer Sanclemente & Gorka Rubiales Zabarte, Music Representation and Ideology in the Paintings of Francisco de Goya and His Contemporaries 34 (2009), 177
Walter Salmen, »Eine Bande von Musikanten«: Die Genese eines Gemäldes von Moritz von Schwind 26 (2001), 113
Ayana O. Smith, On Tupos: Iconography and Verisimilitude in Early Arcadia 34 (2009), 7
Tan Choon-Ying, Envisioning a Romantic Tragedy: Delacroix’s Dramatic Images of Othello 41 (2016), 223
Arabella Teniswood-Harvey, Whistler’s Nocturnes: A Case Study in Musical Modelling 35 (2010), 71
Arabella Teniswood-Harvey, Music and Cross-Cultural Exchange in the Art of Tom Roberts, Arthur Streeton and James McNeil Whistler 38 (2013), 89

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

 
Modern Art
Anna Cazurra, Catalan Modernism Reflected in Paintings by Ramon Casas at the Gran Teatre del Liceu in Barcelona, 31 (2006), 153
Anna Cazurra, The Symbolism of the Muses of the Palau de la Música Catalana 27 (2002), 116
Galina Bakhtiarova, The Iconography of the Catalan Habanera: Indianos, Mulatas and Postmodern Emblems of Cultural Identity 35 (2010), 233
Stephen A. Bergquist, The Musical Paris of Auguste Brouet 43 (2018), 67
Richard C. Green, Bloch, Beethoven and Der Blaue Reiter 37 (2012), 275
Henry Johnson, Brushing up on Mutineers: Music with Art at Fletcher’s Mutiny Cyclorama, Norfolk Island 35 (2010), 119
Florence Le Doussal, Maurice Denis et Ernest Chausson: Deux âmes fraternelles éprises d’absolu 25 (2000), 103
Lindsey Macchiarella, Early French Modernism Across Modalities: Erik Satie and Eugène Atget 42 (2017), 273
Anno Mungen, Music Iconography of Modernism: From the Weimar Republic to Nazi Germany and Beyond 29 (2004), 256
Cristina Santarelli, Female Archetypes in Belgian Surrealist Painting 36 (2011), 311
Cristina Santarelli, Disquieting Muses and Tired Troubadours: Giorgio de Chirico and Mediterranean Metaphysic 37 (2012), 265
Cristina Santarelli, From Vision to Sound: Morton Feldman and Abstract Expressionism 38 (2013), 223
Cristina Santarelli, From Figuration to Abstraction: Dance in the Paintings of Gino Severini 39 (2014), 167

 
Contemporary Art
Catherine S. Amidon, Enrico Riley: A Journey in Giant Steps 35 (2010), 255
Cristina Santarelli, Nouveau Realisme or “Musical Iconoclasm”? The Case of Arman 35 (2010), 245

Biography Studies

Stephen A. Bergquest, Francesco Bartolozzi’s Musical Prints 32 (2007), 177
Stephen A. Bergquist, Musical Images in the Recueil Jullienne 40 (2015), 297 [→ Jean de Jullienne (1686–1766)]
Stephen A. Bergquist, The Musical Paris of Auguste Brouet 43 (2018), 67
Leslie Hansen Kopp, Music Forgotten and Remembered: The Life and Times of Emanuel Winternitz 29 (2004), 6
Chris Price, “Pictorially Speaking, so Ludicrous”: George IV on the Dance Floor 43 (2018), 49 [→ 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
Thomas Tolley, “Divorce a la mode”: The Schwellinberg Affair and Haydn’s Engagement with English Caricature 42 (2017), 255 [→ Joseph Haydn in London]
Heinz-Jürgen Winkler, Fascinated by Early Music: Paul Hindemith and Emanuel Winternitz 29 (2004), 14

Caricatures

Anita Breckbill, André Gill and Musicians in Paris in the 1860s and 1870s: Caricatures in La Lune and L’Éclipse 34 (2009), 215
Chris Price, “Pictorially Speaking, so Ludicrous”: George IV on the Dance Floor 43 (2018), 49
Clair Rowden, Opera, Caricature and the Unconscious: Jules Massenet’s Thaïs, a Case Study 34 (2009), 274
David Francis Taylor, Coalition Dances: Georgian Caricature’s Choreographies of Power 36 (2011), 117
Thomas Tolley, “Divorce a la mode”: The Schwellinberg Affair and Haydn’s Engagement with English Caricature 42 (2017), 255

Christianity

Angels
Jordi Ballester, An Unexpected Discovery: The Fifteenth-Century Angel Musicians of the Valencia Cathedral 33 (2008), 11
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
Katherine Powers, Music-Making Angels in Italian Renaissance Painting: Symbolism and Reality 29 (2004), 52
Cristina Santarelli, Il fregio con angeli musicanti di Trinidad e la musica nelle missioni gesuitiche del Paraguay 28 (2003), 117
Sławomira Żerańska-Kominek, Bird-Like Angels Making Music in Mary’s Garden: Gentile da Fabriano’s Madonna and Child with Saints 37 (2012), 177

 
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
Walter Salmen, Jesus Christus, der himmlische Spielmann 33 (2008), 5

 
Saints
Elena Ferrari-Barassi, The Narrative About Saint Mary Magdalene in the Church of Cusiano, Italy 32 (2007), 102
Barbara Russano Hanning, From Saint to Muse: Representations of Saint Cecilia in Florence 29 (2004), 91
Licia Mari, Two Lunettes for the Altar-Piece in the Palace Basilica of Santa Barbara in Mantua 33 (2008), 112
Sabine Meine, Cecilia Without a Halo: The Changing Musical Virtus 29 (2004), 104
Edo Škulj, Das älteste Bild der hl. Cäcilia in Slowenien 25 (2000), 79

 
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
Sarah Mahler Kraaz, Music for the Queen of Heaven in Early Fifteenth-Century Italian Paintings 39 (2014), 87

Comic Books

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

Dance Iconography

Olive Baldwin, Thelma Wilson & Michael Burden, Images of Dancers of the London Stage, 1699–1800 36 (2011), 53
Michael Burden, Visions of Dancing at the King’s Theatre: Reconsidering London’s “Opera House” 36 (2011), 92
Elena Ferrari-Barassi, Iconography of Iconography: Dance in Ancient Roman Representations, Canova’s Works and Their Reproductions in Engravings 40 (2015), 45
Alessandra Iyer, Śiva’s Dance: Iconography and Dance Practice in South and Southeast Asia 25 (2000), 25
Irmgard Jungmann, Tanzen im 15. Jahrhundert – Der Reigen in Deutschland: Realität oder Imagination? 28 (2003), 97
Metoda Kokole, Pictorial and Literary Testimonies Concerning the European Late Medieval Dances in Slovenia 23 (1988), 87
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
Judith Milhous, Picturing Dance in Eighteenth-Century England 36 (2011), 29
Walter Salmen, Des Tanzfrevels angeklagt: Betrachtungen zu einem Kupferstich von Jan Saenredam (1596) 24 (1999), 85
Cristina Santarelli, Immagini della danza moresca in Piemonte 25 (2000), 39
Barbara Sparti, Inspired Movement versus Static Uniformity: A Comparison of Trecento and Quattrocento Dance Images 33 (2008), 39
David Francis Taylor, Coalition Dances: Georgian Caricature’s Choreographies of Power 36 (2011), 117
Jennifer Thorp, “Borrowed Grandeur and Affected Grace”: Perceptions of the Dancing-Master in Early Eighteenth-Century England 36 (2011), 9
Linda J. Tomko, Framing Turkish Dances 36 (2011), 131
Wang Ling 王玲, Images of Dance on Cangyuan Cliff Paintings and Their Creators 32 (2007), 154
Wang Ling 王玲, Images of Tage from Yunnan, China 36 (2011), 245

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
María Paz López-Peláez Casellas, “No la una si las dos”: Sympathetic Vibrations in Emblem Treatises 35 (2010), 145
Laurence Wuidar, Princely Iconography and Musical Power in Renaissance Emblems 37 (2012), 35
Sara González Castrejón, The Royal Temperament in Musical Emblems of Seventeenth-Century Spain 27 (2002), 79
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

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
Florence Gétreau, Street Musicians of Paris: Evolution of an Image 23 (1988), 62
Joseph S. Kaminski, The Yam Festival Celebrated by the Asante People in Kumase in 1817 41 (2016), 95
Alessandra Mignatti, The Milanese Regio Ducal Theatre and the Festivals of 1747 42 (2017), 161
Candela Perpiñá García, The Musical Image of the Sea in the European Court Festivals During the Sixteenth and Seventeenth Centuries 37 (2012), 121
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
Cristina Santarelli, Riflessi della Milano musicale sforzesca nel codice Varia 124 della Biblioteca Reale di Torino 33 (2008), 30
Anna Tedesco, “Applausi festivi”: Music and the Image of Power in Spanish Italy 37 (2012), 139
Anna Valentini, Musicians in Early Seventeenth-Century Banqueting Scenes in Ferrara 38 (2013), 37

Instruments (by time period)

Antiquity (and its later reception)
Angela Bellia, Images of Music in Magna Grecia: The Tomb of the Diver at Poseidonia (5th Century BCE) 39 (2014), 33
Cristina-Georgeta Alexandrescu, The Iconography of Wind Instruments in Ancient Rome: Cornu, Bucina, Tuba, and Lituus 32 (2007), 33
Cristina Ghirardini, Filippo Bonanni’s Gabinetto armonico and the Antiquarians’ Writings on Musical Instruments 33 (2008), 168
Emiliano Li Castro & Placido Scardina, The Double Curve Enigma 36 (2011), 203
Sylvain Perrot, Elephants and Bells in the Greco-Roman World: A Link between the West and the East? 38 (2013), 27
Sylvain Perrot, Croaking and Clapping: A New Look at an Ancient Greek Bronze Figurine (from Sparta) 43 (2018), 175
Giancarlo Rostirolla, Pier Leone Ghezzi disegnatore di antiche lire: Un excursus tra antiquaria, organologia, musicolografia e mito 35 (2010), 157

 
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
Angela Bellia, Twelfth-Century Musical Symbols in the Star-Studded Sky of King Ruggero II 37 (2012), 24
András Borgó, Die Musikinstrumente Mirjams in spätmittelalterlichen hebräischen Darstellungen 31 (2006), 175
Zdravko Blažeković, The Understanding and Misunderstanding of Terminology and Iconography of Instruments in Fendulus’s Abridgment of Introductorum maius in astronomiam 23 (1988), 23
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
Greta J. Olson, Angel Musicians, Instruments, and Late-Sixteenth-Century Valencia 27 (2002), 46
Luis Robledo, El órgano portativo del tríptico del Monasterio de Piedra (1390): Hipótesis sobre la disposición de su teclado 27 (2002), 37
Martin van Schaik, Ancient Marble Harp Figurines: The Search for a Stratified Context 23 (1988), 11
Patrick Tröster, Which Kind of Trumpet Did the Ménestrel de trompette Play in Late Gothic Alta Bands? 32 (2007), 84

 
Renaissance
Antonio Baldassarre, Die Lira da braccio im humanistischen Kontext Italiens 24 (1999), 5
Dorothea Baumann, Streichinstrumente des Mittelalters und der Renaissance: Bautechnische, dokumentarische und musikalische Hinweise zur Spieltechnik 24 (1999), 29
Mariagrazia Carlone, Lutes, Archlutes, Theorboes in Iconography 30 (2005), 75
Romà Escalas Llimona, Claviorgans Attributed to Laurentius Hauslaib in New York, Moscow and Barcelona 27 (2002), 87
Katherine Powers, The lira da braccio in the Angel’s Hands in Italian Renaissance Madonna Enthroned Paintings 26 (2001), 20

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

 
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
Gerhard Doderer, Portuguese Organ Cases of the Eighteenth Century: Splendor and Effectiveness 27 (2002), 101
Ingrid E. Pearson, 18th- and 19th-Century Iconographical Representations of Clarinet Reed Position 25 (2000), 87

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

 
Post-Romantic
Michele Del Prete, Sound Tresholds: Visual and Acoustic Values of the Fernwerk in Post-Romantic Organ Building and Architecture 42 (2017), 223

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
Rogério Budasz, Central-African Pluriarcs and Their Players in Nineteenth-Century Brazil 39 (2014), 5
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
Joseph S. Kaminski, The Yam Festival Celebrated by the Asante People in Kumase in 1817 41 (2016), 95

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

 
Albania
Ardian Ahmedaja, The lahute between everyday practice and symbolism 38 (2013), 144

 
China
Lars Christensen, Imag(in)ing Musical Instruments: Prescriptive and Descriptive Iconography in the Northern Song Dynasty 43 (2018), 101
Gu Xingli, Evidence for the existance of the jian drum dance 38 (2013), 161
Huang Pei-Ling, Devotional Buddhism, Sinicization, and the politics of representation in the Northern dynasties music iconography at Dunhuang 38 (2013), 171
Colin Huehns, Lovely Ladies Stroking Strings: Depictions of Huqin in Chinese Export Watercolours 28 (2003), 5
Bo Lawergren, The Iconography and Decoration of the Ancient Chinese Qin-Zither (500 BCE to 500 CE) 32 (2007), 47
Li Mei, Adaptations of Harps Reflected in Murals of the Chinese Western Regions 39 (2014), 43
J.P. Park, Instrument as Device: Social Consumption of the Qin Zither in Late Ming China (1550–1644) 33 (2008), 136
Wang Ling 王玲, Bronze Instruments of the Dian Kingdom and Their Images in Scenes of Dance and Music-Making 30 (2005), 17
Yang Yuanzheng 楊元錚, A Manual of Qin Types of Past Dynasties: A Speculative Genealogy? 43 (2018), 113

 
Japan
Mayumi Miyazaki, The History of Musical Instruments in Japan and Visual Sources 24 (1999), 51
Susumu Kashima, Depictions of Kugo Harps in Japanese Buddhist Paintings 24 (1999), 56

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
Stefano Baldi, The Ducal Chapel of Savoy in Les Très Riches Heures du Duc de Berry 37 (2012), 57
Rosina Buckland, Sounds of the Psalter: Orality and Musical Symbolism in the Luttrell Psalter 28 (2003), 69
Svetlana Kujumdžieva, Ασομεν τω κυριω: The Miniature Depicting the Song of Moses in Manuscript Vat. Gr. 752 26 (2001), 92
Donatella Melini, Musical Iconography in the Visconti Codices 37 (2012), 45
Maria Francesca P. Saffiotti, Disiecta membra from a Sistine Chapel Choir Book: MS Cappella Sistina 11 Illuminated by Vincent Raymond de Lodève 23 (1988), 33

Military Music

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

Museum Studies

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

Music in Private Residences

Antonio Baldassarre, Music, Painting, and Domestic Life: Hortense de Beauharnais in Arenenberg 23 (1988), 49
Francesca Cannella, Aristocratic Residences as Performing Places in Seventeenth- and Eighteenth-Century Apulian Fiefs 42 (2017), 97
Francesca Cannella, The Ephemeral Baroque of the Exequies for Beatrice Acquaviva d’Aragona (Cavallino–Lecce, 1637) 37 (2012), 101
Pilar Diez de Corral Corredoira, Il dilettevole trattenimento: El teatro del Cardinal Troyano Acquaviva en el palacio de Espana en Roma 42 (2017), 59
Daniela Castaldo, Amico Aspertini’s Apollo and Muses in the Isolani Castle at Minerbio (Bologna) 37 (2012), 71
Christopher Cook, Entertainment in a Box: Domestic Design and the Radiogram and Television 35 (2010), 261
Laura Moretti, “Quivi si esserciteranno le musiche”: La sala della musica presso la “corte” padovana di Alvise Cornaro 35 (2010), 135
Laura Moretti, L’immagine della musica nello «studio» del palazzo veronese di Mario Bevilacqua (1536–1593) 40 (2015), 285

Music Theory

Susan Forscher Weiss, Disce manum tuam si vis bene discere cantum: Symbols of Learning Music in Early Modern Europe 30 (2005), 35
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

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
Maria Teresa Arfini, Abstract Film as Viewable Music: Early Experiments of Hans Richter, Walther Ruttmann, and Oskar Fischinger 38 (2013), 213
Maria Teresa Arfini, Around [Mendelssohn-Bartholdy’s] Antigone: The Iconography and Music in the German Revival of the Classical Tragedy 40 (2015), 203
Maria Teresa Arfini, Musical Landscape: The Correspondences between Music and Painting in Early-Nineteenth-Century Germany 39 (2014), 125
Allan W. Atlas, I.J. Belmont’s “Color-Music Expressions” (Pt 1): Vaughan Williams on Canvas 36 (2011), 327
Antonio Baldassarre, “Among the Best Striving Today, There are Secret Relationships”: The Kandinskij–Schoenberg Connection Reconsidered 29 (2004), 234
Eleonora M. Beck, Revisiting Dufay’s Saint Anthony Mass and Its Connection to Donatello’s Altar of Saint Anthony of Padua 26 (2001), 5
Anna Harwell Celenza, Music and the Vienna Secession, 1897–1902 29 (2004), 203
Monika Fink, Farb-Klänge und Klang-Farben im Werk von Olivier Messiaen 28 (2003 161
Monika Fink, Musikalische Bildreflexionen: Kompositionen nach Guernica von Pablo Picasso 30 (2005), 183
Monika Fink, Musical Compositions Based on Rembrandt’s Works 33 (2008), 268
Monika Fink, Musical Compositions Based on Francisco de Goya’s Desastres de la guerra 39 (2014), 181
Timothy S. Flynn, The Classical Reverberations in the Music and Life of Camille Saint-Saëns 40 (2015), 255
Charles Frederick Frantz, “Le Décor Symbolique”: Claude Debussy and Emile Gallé 29 (2004), 171
Irene Guletsky, Manus Mysterialis: The Symbolism of Form in the Renaissance Mass 33 (2008), 69
Laurence Le Diagon-Jacquin, A Comparative Analysis of the Visual Arts and Music According to Panofsky: The Case of Liszt 30 (2005), 120
Evangelia Mitsopoulou, Liszt’s and Genelli’s Dante-Symphonie Project 38 (2013), 201
Nancy November, Theater Piece and Cabinetstück: Nineteenth-Century Visual Ideologies of the String Quartet 29 (2004), 134
Nancy November, Picturing Nineteenth-Century String Quartet Listeners 41 (2016), 237
Eftychia Papanikolaou, Brahms, Böcklin, and the Gesang der Parzen 30 (2005), 154
Aurèlia Pessarrodona, Josep Soler’s Compositions Inspired by Dürer and Murillo 31 (2006), 165
Clair Rowden, Opera, Caricature and the Unconscious: Jules Massenet’s Thaïs, a Case Study 34 (2009), 274
Michael Russ, Returning to the Exhibition: Musorgskij’s Pictures Reconsidered 39 (2014), 215
Dujka Smoje, Colors of Bach’s Music: Farbsymphonien in Jakob Weder’s Painting 29 (2004), 265

Mythological Stories

Zdravko Blažeković, What Marsyas May Have Meant to the Cinquecento Venetians, or Andrea Schiavone’s Symbolism of Musical Instruments 26 (2001), 30
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
Daniela Castaldo, Amico Aspertini’s Apollo and Muses in the Isolani Castle at Minerbio (Bologna) 37 (2012), 71
Joan Mut i Arbós, Sappho Recalled to Life by Music: Feminine Emotion and Raison d’État in Neo-Classical Napoleonic Painting 43 (2018), 21
María Isabel Rodríguez López, Victory, Triumph, and Fame as the Iconic Expressions of the Courtly Power 37 (2012), 9
Walter Salmen, The Muse Terpsichore in Pictures and Texts from the 14th to 18th Century 23 (1988), 79
Ellen Van Keer, The Myth of Marsyas in Ancient Greek Art: Musical and Mythological Iconography 29 (2004), 20

Opera Staging and Set Design

Marina Bagarić, Pavel Froman’s Stage Designs for the Hrvatsko Narodno Kazalište in Zagreb 30 (2005), 166
Peter Beudert, Stage Painters at the Paris Opéra in the Nineteenth Century 31 (2006), 63
Maria Ida Biggi, Borsato, Bagnara and Basoli: Archaeological References and Reverberations on the Venetian and Bolognese Neoclassical Stages 40 (2015), 99
Diana Blichmann, The Temple of Jupiter Stator in La Clemenza di Tito by Pietro Metastasio 40 (2015), 139
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
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
Samuel N. Dorf, Seeing Sappho in Paris: Operatic and Choreographic Adaptations of Sapphic Lives and Myths 34 (2009), 291
Christine Fischer, Engravings of Opera Stage Settings as Festival Books: Thoughts on a New Perspective of Well-Known Sources 34 (2009), 73
Bruno Forment, Trimming Scenic Invention: Oblique Perspective as Poetics of Discipline 34 (2009), 31
Bruno Forment, Jumbo-Sized Artifacts of Operatic Practice: The Opportunities and Challenges of Historical Stage Sets 38 (2013), 115
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
Olga Jesurum, Set Designs for Italian Operas by Romolo and Tancredi Liverani 31 (2006), 51
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
Nicole Lallement, Iconography of Rameau’s Opera: The Dardanus Example 34 (2009), 165
Tatjana Marković, Iconography as a Sign: The Case of Stage-Music Semiosis about Koštana 31 (2006), 87
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
Anno Mungen, Entering the Musical Picture: Richard Wagner and 19th-Century Multimedia Entertainments 26 (2001), 123
Gabriella Olivero, The “New” Babylon by Alessandro Sanquirico 40 (2015), 125
Matthias Stephan von Orelli, Giambattista Tiepolos Werk als Dokument der Inszenierungspraxis zeitgenössischer Opern 25 (2000), 56
John A. Rice, Mid–Eighteenth-Century Opera Seria Evoked in a Print by Marc’Antonio dal Re 34 (2009), 153
Jana Spáčilová & Štěpán Vácha, New Insights into the Performance of Fux’s Opera Costanza e Fortezza in Prague in 1723 34 (2009), 44
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

Orient(alism)

Antonio Baldassarre, Being Engaged, not Informed: French “Orientalists” Revisited 38 (2013), 63
Henry Johnson, Dante Gabriel Rossetti and Japan: The Musical Instrument Depicted in The Blue Bower and A Sea Spell 30 (2005), 145
Raquel Jiménez Pasalodos & Juan P. Arregui, Musical Iconographies and the Construction of Historical Narratives: The Museo Oriental of Valladolid 38 (2013), 101
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
Darja Koter, Turqueries and Chinoiseries with Musical Symbols: Examples from Slovenia 29 (2004), 113
Hiroyuki Minamino, European Musical Instruments in Sixteenth-Century Japanese Paintings 24 (1999), 41
Anna Mouat & Melissa Mouat, European Perceptions of Chinese Culture as Represented on the eighteenth-Century Ballet Stage 38 (2013), 49
Sławomira Żerańska-Kominek, Musicians in the Ottoman Costume Album from the Collection of Stanislaw II August Poniatowski, Poland’s Last King 41 (2016), 189

Performance Practice

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

Portraiture

Carol Padgham Albrecht, The Face of the Vienna Court Opera, 1804–1805 34 (2009), 191
Stephen A. Bergquist, Ten Musical Portraits 35 (2010), 271
Stephen A. Bergquist, Some Portraits of Beethoven and His Contemporaries 37 (2012), 207
Stephen A. Bergquist, Scapino: A Portrait of Francesco Gabrielli 39 (2014), 98
Stephen A. Bergquist, A Piece of Musical Napoleoniana 41 (2016), 215 [→ Elisabetta Gafforini (1801)]
Stephen A. Bergquist, The Musical Portraits of Augustin de Saint-Aubin 42 (2017), 309
Stephen A. Bergquist, A Souvenir of the Second Empire 36 (2011), 301
Biancamaria Brumana, The Castrato Singer Francesco Ceccarelli: His Friendship with the Mozart Family and a Portrait from the Salzburg Period 39 (2014), 119
Michael Burden, Imaging Mandane: Character, Costume, Monument 34 (2009), 107
Mariagrazia Carlone, Copies, Replicas, and Variations in Paintings with a Musical Subject 26 (2001), 58
Mariagrazia Carlone, Portraits of Lutenists 29 (2004), 64
Alan Davison, The Musician in Iconography from the 1830s and 1840s: The Formation of New Visual Types 28 (2003), 145
Alan Davison, Franz Liszt and the Physiognomic Ideal in the Nineteenth Century 30 (2005), 133
Alan Davison, Thomas Hardy’s Portrait of Joseph Haydn: A Study in the Conventions of Late Eighteenth-Century British Portraiture 33 (2008), 235
Alan Davison, Collecting Musical Prints in Late Eighteenth-Century England: Taste, Self-Improvement and John Bland’s “Portrait series” 41 (2016), 203
Florence Gétreau, Romantic Pianists in Paris: Musical Images and Musical Literature 29 (2004), 188
Florence Gétreau, The Portraits of Rameau: A Methodological Approach 36 (2011), 275
Berta Joncus, “A Likeness Where None Was to Be Found”: Imagining Kitty Clive (1711–1785) 34 (2009), 89
Laurence Libin, Musical Instruments in Two Portraits by José Campeche 31 (2006), 127
Holly Mathieson, The “True Wagnerian” and the English Imagination: The Image of Hans Richter 34 (2009), 311
Holly Mathieson, National Ambiguity in the Portraiture of Sir Henry Wood: A Case Study in Iconographic Method 35 (2010), 85
Arnaldo Morelli, Portraits of Musicians in Sixteenth-Century Italy: A Specific Typology 26 (2001), 47
Arnaldo Morelli, Bernardo Pasquini and His Portraits: From Their Origins to the Present Day 39 (2014), 201
H. Colin Slim, Joseph Weber’s Diva, pinxit 1839: Visual, Musical, Societal Considerations 31 (2006), 5
Katherine Wallace, Lorenzo Costa’s Concert: A Fresh Look at a Familiar Portrait 33 (2008), 52
Emile Wennekes, Mengelberg Conducts Oberon: The Conductor as Actor, Anno 1931 34 (2009), 317
Jed Wentz, Deformity, Delight and Dutch Dancing Dwarfs: An Eighteenth-Century Suite of Prints from the United Provinces 36 (2011), 161

Public Art Depicting Music

Djennet Ataeva, The Iconography of Musical Instruments in St. Petersburg’s Monumental and Decorative Sculpture 29 (2004), 227
Eleonora M. Beck, Representations of Music in the Astrological Cycle of the Salone della Ragione in Padua 24 (1999), 68
Anna Cazurra, The Symbolism of the Muses of the Palau de la Música Catalana 27 (2002), 116
Marin Marian-Bălaşa, Music on Money: Legitimation and Cultural Representation 28 (2003), 171
Luzia Rocha, Al zulaiju: Music in the Ceramic Tiles of São Vicente de Fora Monastery in Lisbon 33 (2008), 301
Walter Salmen, Bilder aus der Musizierpraxis um 1530 an einem Prunkerker in Innsbruck 25 (2000), 51
Walter Salmen, Kabinettscheiben (vitrail civil): Musikikonographisch betrachtet 26 (2001), 107
Walter Salmen, Musical Scenes in and on Town Houses of the Fourteenth to Sixteenth Centuries 29 (2004), 77

Religious Spaces

Antiquity
Claudina Romero Mayorga, Music and Theatrical Performance in the Mysteries of Mithras 42 (2017), 33
Jay Kappraff & Ernest G. McClain, The System of Proportions of the Parthenon: A Work of Musically Inspired Architecture 30 (2005), 5

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

 
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
Elena Ferrari-Barassi, The Narrative About Saint Mary Magdalene in the Church of Cusiano, Italy 32 (2007), 102
Licia Mari, Two Lunettes for the Altar-Piece in the Palace Basilica of Santa Barbara in Mantua 33 (2008), 112

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

Sheet Music

Melissa M. Zapata-Rodríguez, Minstrelsy: Iconography of Resistance During the American Civil War 41 (2016), 111
Michael Saffle, Images of China and Japan in Turn-of-the-Last-Century American Sheet Music 42 (2017), 329
James Deaville, Le chant du désert: Images of the Arab-Islamic World in Late Nineteenth-Century French Chansons and Piano Music 42 (2017), 341
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

Michael Burden, A Return to London’s Opera House in 1782 42 (2017), 185
Margaret R. Butler, “Olivero’s” Painting of Turin’s Teatro Regio: Toward a Reevaluation of an Operatic Emblem 34 (2009), 138
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), 109
Stefania Macioce, Theatre as the Representative Scene of the Power of Court: The Fifteenth- and Sixteenth-Century Italian exempla 42 (2017), 47
Alessandra Mignatti, The Milanese Regio Ducal Theatre and the Festivals of 1747 42 (2017), 161
Anno Mungen, Orchestra: Klangkonzepte für Opernhäuser in Berlin und Dresden 26 (2001), 131
Jean-Georges Noverre, Observations sur la construction d’une nouvelle salle d’opera 42 (2017), 195
Giuseppina Raggi, The Queen of Portugal Maria Anna of Austria and the Royal Opera Theaters by Giovanni Carlo Sicinio Galli Bibiena 42 (2017), 121
María Isabel Rodríguez López, The Relief Decorations of the Ancient Roman Theater: The Case of Sabratha 42 (2017), 17
Andrea Sommer-Mathis, The Imperial Court Theater in Vienna from Burnacini to Galli Bibiena 42 (2017), 71