Musical iconography |

Musical iconography (From the Greek. eixon – image and grapo – I write) – description, study and systematization of art. images and photographs of musicians (composers, performers) and music. instruments, as well as incarnations of muses. stories in the production painting, graphics, fine arts, miniature, sculpture, ceramics, etc. AND. м. – help. branch of musicology. There are personal and general I. м. Personal I. м. makes it his task to be critical. selection and systematization will depict. material related to the biography of a given composer or performer, in order to restore the environment of life, life, in which his work flowed and formed. General I. м. collects and describes images. material related to music-performing practice decomp. history, epochs and related history of muses. life and music. tools. This type of I. м. plays an important role in music. instrumentation, compare. musicology and music. ethnography. AND. м. often represents unity. a reliable documentary source that allows you to restore the overall picture and features of the situation, in which solo and ensemble music-making took place under the conditions of section. historian. epochs, makes it possible to establish typical. features of the appearance, design and method of holding the music. tools. Large picture. material of this kind is contained in the ancient theoretical. treatises, music manuals, instr. schools, on the title pages of old musical publications. One of the valuable sources м. is a caricature. It is on the caricatures, although in an exaggerated and sometimes grotesque form, that the most characteristic, conspicuous features of the musician’s personality, the features of the music-making environment, the methods of sound extraction on the instrument or typical ones are captured. conducting manners, etc. When studying music cultures of distant epochs an important source of I. м. are rock paintings dating back to the times of primitive culture, and discovered during the archaeological. excavations of household items depicting muses. instruments, ritual ceremonies with the participation of musicians. Rich iconography. materials for the study of other Russian. ice cultures represent miniatures in chronicles, churches. frescoes, lubok pictures. Task I. м. how to help. branch of musicology is to systematize and catalog the sources of I. m., research and analysis will depict. material, in the definition, based on the critical. comparisons diff. sources, the degree of its reliability, in the description of meetings and collections of muses. tools. At the same time, a methodology for the “pictorial” history of music is being developed. isk-va (so-called “History of Music in Pictures”). In this aspect, I. м. closely related to the general history of art. culture. One of the types of publications related to I. m., – albums, in which iconography is reproduced and annotated. material on one or another musical-historical. topics. There are also publications of this type, reproducing iconographic material throughout the history of music. isk-va. The first experience I. м. labor came to him. lexicographer E. L. Gerber, who published in 1783 in the journal. “Magazine der Musik” iconography of the musicians. Later, with additions, he published it in the form of an annotated catalog of engravings, paintings, drawings and sculptures of famous musicians (composers, theorists, performers), which was an appendix to his dictionary “Historisch-biographical lexicon of musicians” “Historisch-biographisches Lexikon der Tonkünstler”, TI 1 -2, Lpz., 1790-92). Means development I. м. received with 20 in. in foreign, especially German, musicology. In Russia, the first works in the field of I. м. belong to H. P. Find out. A number of important publications on I. м. carried out in the USSR. However, in modern I. м.

References: Findeizen N., Glinka in Spain and folk melodies recorded by him (with iconography related to his Spanish trip), St. Petersburg, 1896; his own, Catalog of musical manuscripts, letters and portraits of M. I. Glinka, St. Petersburg, 1898; Alekseevskaya L., Lira from Kerch, P., 1915; Detinov S., Portrait images of Mussorgsky, in the book: M. P. Mussorgsky. Articles and materials, ed. You. Yakovlev and Yu. Keldysh, Moscow, 1932; Rudakova E., Live images of Glinka. Portraits and sketches. Album “M. I. Glinka in cartoons” by N. Stepanov (1850-1854), in the book: M. I. Glinka. Collection of articles, ed. Edited by E. M. Gordeeva. Moscow, 1958. Tsitsikyan A., A valuable find (a vessel from Dvin with an image of an ancient bowed musical instrument), Kommunist, Yer., 1960, April 17; Atlas of musical instruments of the peoples of the USSR, hands. K. A. Vertkov. Moscow, 1963. Sergei Prokofiev (album), comp. S. I. Shlifshtein. Moscow, 1965. Buhle, E., Die musikalische Instrumente in den Miniaturen des frehen Mittelalters, Blasinstrumente, Lpz., 1903 (Inaugural-Diss.); Leichtentritt H., Was lehren uns die Bildwerke der 14-17, Jahrhunderten über die Instrumentalmusik ihrer Zeit?, “SIMG”, Jahrg. VII, 1905/06, H. 3, S. 315-364; Storek K., Musik und Musiker in Karikatur und Satire, Oldenburg, 1910; Deutsch O. E., F. Schubert. Sein Leben in Bildern, Münch., 1913; his, Mozart und seine Welt in zeitgenössischen Bildern, WA Mozart, Neue Gesamtausgabe, Serie X, Bd 32, Kassel, 1961; Seiifert M., Bildzeugnisse des 16. Jahrhunderts, “AfM”, I, 1918-19; Sauerlandt M., Die Musik in fünf Jahrhunderten der europdischen Malerei, Königstein – Lpz., 1922; Moreck C., Die Musik in der Malerei, Münch., 1924; Musik und bildende Kunst in Rahmen der allgemeinen Kunstgeschichte. Festschrift J. Schlosser, W., 1926; Kinski S., Haas R., Schnoor H., Geschichte der Musik in Bildern, Lpz., 1929; Marle R. von, Iconographie de l’art profane au moyen-bre et a la Renaissance, v. 1-2, Den Haag, 1931-32; Reuter F., Les représantations de la musique dans la sculpture romane en France, P., 1938; Della Corte A., Gli strumenti musicali nei dipinti della Galleria degli Uffizi, Torino, 1952; Vanach J., Tematy muzyczne w plastyce polskiej, kn. 1-2, Kr., 1956-60; Musikgeschichte in Bildern, hrsg. von H. Besseler and M. Schneider, Bd 1-4, Lpz., 1962-67; Murimoude AP de, Remarques sur l’iconographie musicale, “Revue de Musicologie”, LI, 1965, No 1; Duleba W., Henryk Wieniawski. Kronika zycia, Kr., 1967.

I. M. Yampolsky