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005 20141212104337.0;

008 691027s1967 nyufh b 001 0 eng ;

010 a| 67016617;

035 a| (Sirsi) o00020881;

035 a| (OCoLC)20881;

049 a| EREM;

050 00 a| ML85.W58b| M8 1967b;

082 0 a| 704.94/9/78191;

100 1 a| Winternitz, Emanuel.=| ^A17542;

245 10 a| Musical instruments and their symbolism in Western art /c| Emanuel Winternitz.;

250 a| [1st edition].;

300 a| 240 pages :b| facsimiles, 96 plates. ;c| 26 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Bibliographical footnotes.;

505 00 t| The visual arts as a source for the historian of music --t| The knowledge of musical instruments as an aid to the art historian --t| The survival of the Kithara and the evolution of the English cittern: a study in morphology --t| Bagpipes and hurdy-gurdies in their social setting --t| The lira de braccio --t| Early violins in paintings by Gaudenzio Ferrari and his school --t| The golden harpsichord and Todini's Galleria Armonica --t| The importance of Quattrocento intarsias for the history of musical instruments --t| Quattrocento science in the Gubbio study --t| Bagpipes for the lord --t| On angel concerts in the 15th century: a critical approach to realism and symbolism in sacred painting --t| The curse of Pallas Athena --t| Muses and music in a burial chapel: an interpretation of Filippino Lippi's window wall in the Cappella Strozzi --t| Musical archaeology if the renaissance in Raphael's Parnassus --t| The inspired musician: a 16th century musical pastiche --t| Musical instruments for the stage in paintings by Filippino Lippi, Piero di Cosimo, and Lorenzo Costa.;

520 a| This book first appeared in 1967. In the years since then, it has spawned the new academic sub-discipline of musical iconology, which belongs equally to the histories of art and of music. Emmanuel Winternitz, who was for thirty-one years Curator of Musical Collections at the Metropolitan Museum of Art, is one of the world's leading authorities on the history of musical instruments. He is also an erudite historian of art. Combining these two interests he has for many years studied the innumerable representations of musical instruments in Western art. In this collection of closely related articles, he examines what these pictures tell of the design and construction of instruments, of their performance, practice, and of the often subtle symbolic use to which artists put them. Kithara and cittern, lute and lyre, bagpipe and hurdy-gurdy, and the ubiquitous lira da braccio, all of these figured largely in the art of the Middle Ages or the Renaissance, together with a clutch of shwms, zinks, and crumhorns, and a variety of fantastic instruments that existed only in the imagination of the artists. In more than 200 photographs and many drawings, Winternizt illustrates instruments that range from an Egytptian wall-painting of a harp to a musette in a Watteau Fête champêtre. He draws from the works of Titian, Raphael, Dürer, and Bruegel, and also from medieval manuscripts and sculpture. Winternitz discusses these diverse elements with a combination of formidable learning, wit, and keen insight that makes this book at once a seminal work for scholars and a delight for lovers of art and music.;

650 0 a| Music in artv| Pictorial works.=| ^A17543;

650 0 a| Musical instruments in artv| Pictorial works.=| ^A40607;

650 0 a| Symbolism in art.=| ^A17544;

919 a| BOOK;

596 a| 3;

998 a| 5078;

999 a| ML85.W58 M8 1967Bw| LCc| 1i| 310372000016279d| 6/13/2016e| 4/17/2014f| 12/19/2024g| 4l| MCSm| JMUSICn| 7r| Ys| Yt| MCSSBKu| 1/27/1986x| BOOKz| MCIRCo| .STAFF. 0o| .STAFF. Copy Statement : c.1;

Musical instruments and their symbolism in Western art / Emanuel Winternitz.

Author/creator	Winternitz, Emanuel
Format	Book
Edition	[1st edition].
Publication Info	New York : W. W. Norton, [©1967]
Description	240 pages : facsimiles, 96 plates. ; 26 cm
Subjects	Music in art--Pictorial works. Musical instruments in art--Pictorial works. Symbolism in art.

Contents	The visual arts as a source for the historian of music -- The knowledge of musical instruments as an aid to the art historian -- The survival of the Kithara and the evolution of the English cittern: a study in morphology -- Bagpipes and hurdy-gurdies in their social setting -- The lira de braccio -- Early violins in paintings by Gaudenzio Ferrari and his school -- The golden harpsichord and Todini's Galleria Armonica -- The importance of Quattrocento intarsias for the history of musical instruments -- Quattrocento science in the Gubbio study -- Bagpipes for the lord -- On angel concerts in the 15th century: a critical approach to realism and symbolism in sacred painting -- The curse of Pallas Athena -- Muses and music in a burial chapel: an interpretation of Filippino Lippi's window wall in the Cappella Strozzi -- Musical archaeology if the renaissance in Raphael's Parnassus -- The inspired musician: a 16th century musical pastiche -- Musical instruments for the stage in paintings by Filippino Lippi, Piero di Cosimo, and Lorenzo Costa.
Abstract	This book first appeared in 1967. In the years since then, it has spawned the new academic sub-discipline of musical iconology, which belongs equally to the histories of art and of music. Emmanuel Winternitz, who was for thirty-one years Curator of Musical Collections at the Metropolitan Museum of Art, is one of the world's leading authorities on the history of musical instruments. He is also an erudite historian of art. Combining these two interests he has for many years studied the innumerable representations of musical instruments in Western art. In this collection of closely related articles, he examines what these pictures tell of the design and construction of instruments, of their performance, practice, and of the often subtle symbolic use to which artists put them. Kithara and cittern, lute and lyre, bagpipe and hurdy-gurdy, and the ubiquitous lira da braccio, all of these figured largely in the art of the Middle Ages or the Renaissance, together with a clutch of shwms, zinks, and crumhorns, and a variety of fantastic instruments that existed only in the imagination of the artists. In more than 200 photographs and many drawings, Winternizt illustrates instruments that range from an Egytptian wall-painting of a harp to a musette in a Watteau Fête champêtre. He draws from the works of Titian, Raphael, Dürer, and Bruegel, and also from medieval manuscripts and sculpture. Winternitz discusses these diverse elements with a combination of formidable learning, wit, and keen insight that makes this book at once a seminal work for scholars and a delight for lovers of art and music.
Bibliography note	Bibliographical footnotes.
LCCN	67016617

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Musical instruments and their symbolism in Western art / Emanuel Winternitz.

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