- 360 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
eBook - ePub
About this book
Professor Slim deals here with the several roles that music can play in the artworks of the Renaissance, looking in particular at Italian painting of the 16th century. For understandable reasons, art historians sometimes neglect the role of music and, especially, that of musical notation when studying works of art. These studies not only identify musical compositions, wholly or partially inscribed in paintings - and tapestries, ceramics, prints as well - but also seek reasons why these particular musical compositions were included and analyse their relevance to the scene depicted. Furthermore, as many of these studies show, identifying a musical composition, especially if it has a text, leads to the formation of ideas about iconographical functions and thus augments interpretations of the visual art.
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Yes, you can access Painting Music in the Sixteenth Century by H. Colin Slim in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & World History. We have over one million books available in our catalogue for you to explore.
Information
Table of contents
- Cover
- Series
- Half Title
- Title
- Copyright
- Contents
- Preface
- Publisher’s Note
- Acknowledgements
- I Introduction: Some Thoughts on Musical Inscriptions
- II 'Some Possible Likenesses of Francesco Canova da Milano (1497-1543)'
- III The Prodigal Son at the Whores' Music, Art, and Drama
- IV A Motet for Machiavelli's Mistress and a Chanson for a Courtesan
- V Mary Magdalene, Musician and Dancer
- VI Mary Magdalene, mondaine musicale
- VII Paintings of Lady Concerts and the Transmission of 'Jouissance vous donneray'
- VIII Musical Inscriptions in Paintings by Caravaggio and his Followers
- IX Music in and out of Egypt: A Little-Studied Iconographical Tradition
- X Music in Majolica
- XI Giovanni Girolamo Savoldo's Portrait of a Man with a Recorder
- XII Tintoretto's 'Music-Making women' at Dresden
- XIII Arcadelt's 'Amor, tu sai' in an Anonymous Allegory
- XIV The Lutenist's Hand
- XV An Iconographical Echo of the Unwritten Tradition in a Verdelot Madrigal
- XVI Two Paintings of 'Concert Scenes' from the Veneto and the Morgan Library's Unique Music Print of 1520
- XVII Lasso's La Cortesia Voi, Donne, Predicate: A Villanesca Printed, Penned, Plucked and Depicted
- XVIII Valid and Invalid Options for Performing Frottole as Implied in Visual Sources
- Addenda et Corrigenda
- Index