Therefore, our first project had to be modified we began the Index by cataloguing reproductions found in art historical books, museum catalogues, and so on, most of them related in some way to the reproductions in the standard anthologies. We soon found, however, that these anthologies often do not supply enough information to evaluate the pictures properly as musicological evidence. Harrison and Joan Rimmer, European Musical Instruments (New York, 1965), Karl Michael Komma, Musikgeschichte in Bildern (Stuttgart, 1961), and so on. Thus, we began to catalogue the reproductions published in the standard anthologies of music in pictures, for example, Georg Kinsky, A History of Music in Pictures (London, 1930), Alexander Büchner, Musical Instruments Through the Ages (London, 1956), Frank L. We decided to begin the Index with the objects found in our own casually formed collections and add to them the pictorial sources already best known to musicologists. The present handbook explains that system. But we soon found that not a single work of art could be catalogued until we had devised a system applicable to all works of art. Moreover, the possibility of exchanging or sharing material with other scholars seemed remote, for if we could not control our own small groups of objects-we did not really know what we had-how could we arrange to share material profitably? These frustrations led to discussions about the kinds of questions that musical scholars can hope to answer using pictorial evidence and about methods of cataloguing art works so that the most useful information is quickly and easily available, and finally to our decision to form at the University of Chicago a modest Index of Musical Iconography. Our primitive systems of locating material within them have been incomplete and inconsistent, so that many times we could not find all of the information needed when we looked for it, and objects once found were almost immediately lost. We have been frustrated in our attempts to use collections of random objects because neither of us has known how to arrange their contents in an orderly way. MUSICAL ICONOGRAPHY MUSICAL ICONOGRAPHY: A MANUAL FOR CATALOGUING MUSICAL SUBJECTS IN WESTERN ART BEFORE 1800 Howard Mayer Brown and Joan Lascelle Harvard University Press, Cambridge, Massachusetts, 1972 © Copyright 1972 by the President and Fellows of Harvard College All rights reserved Library of Congress Catalog Card Number 76-180151 SBN 674-59220-4 Printed in the United States of America υ PREFACE Like many who are interested in the history of musical instruments and their uses, the authors of this handbook have been collecting reproductions of works of art with musical subjects for a number of years, although in a completely unsystematic fashion. CLASSIFICATION SCHEME FOR PICTURES OF MUSICAL INSTRUMENTS APPENDICES Aids to Cataloguing Works of Art with Musical Subjects Citation preview BIBLIOGRAPHY: SOURCES WHICH CONTAIN REPRODUCTIONS OR DISCUSSIONS XII. WHAT CAN WORKS OF ART TEACH US ABOUT MUSIC? II. Table of contents : PREFACE CONTENTS ILLUSTRATIONS I.
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