Synopsis
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.
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Musical Instruments and Their Symbolism in Western Art (Studies in Musical Iconology)
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Musical Instruments and Their Symbolism in Western Art: Studies in Musical Iconology book by Emanuel Winternitz
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Hardcover. Condition: Good. Immediate dispatch from Somerset. Nice older book in good condition. Pages in good bright condition. Some tanning and marking due to age. No notes or highlighting. See images. Fantastic book. About the book >.>.> Most of the studies assembled here grew out of my work at the Metro- politan Museum of Art, for whose splendid collection of musical instruments I have, as Curator, been responsible since 1941. Preserving, repairing, and exhibiting instruments, studying purchases and gifts, and organizing museum concerts of forgotten masterworks using instruments of their periods, provided no end of incentive to research. Another stimulus came from the continual questioning by friends in the fields of the history of art and of music. In this age of intense interest in iconology, art historians seek information about instru- ments as traditional attributes of allegorical figures, as integral elements of mythical and religious beliefs and images, and as telling tools of social customs and traditions. In trying to answer these questions, it was necessary to view the instruments as objects invested with symbolic meaning beyond their musical significance. Music historians, in turn, havi. Seller Inventory # Batch-FM393-G-9207
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Musical Instruments and Their Symbolism in Western Art (Hardcover)
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Yale University Press, New Haven, 1979
ISBN 10: 0300023243
ISBN 13: 9780300023244
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Hardcover. Condition: new. Hardcover. 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 Fete champetre. He draws from the works of Titian, Raphael, Duerer, 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. 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 Fete champetre. He draws from the works of Titian, Raphael, Durer, 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. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9780300023244
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