Imago musicae

PER. IT. 32
IMAGO MUSICAE

– ABONDANCE (P.), Protections de l’objet par l’image, authentification de l’image par l’objet, vol. IV, 1987, pp. 271-281
– ARFINI (M. T.), (L‘) immagine dell’Italia nella pittura e nella musica dei viaggiatori transalpini del XIX secolo, vol. XXVI, 2013, pp. 79-97
– BACHMANN (W.), Ensemblemusizieren im 5. Jahrhundert vor unserer Zeitrechnung. Ein Vergleich der Bildquellen und der Instrumentenfunde, vol. IV, 1987, pp. 209-228
• Musikdarbietung im Hippodrom von Konstantinopel, voll. XXI/XXII, 2004/2005, pp. 193-227
– BALAS (E.), Brancusi and Bartók: A Parallel, vol. VI, 1989, pp. 165-182
– BALLESTER (J.), Musical iconography in the ephemeral kingdom of Majorca (1262-1349): symbolic and metaphoric meanings in the Leges Palatinae (1337) miniatures, vol. XXV, 2012, pp. 7-28

-(Id.), Música  e identidad en el arte modernista catalán: el Orfeó Català y el mosaico de la Festa de la Música,Vol. XXVII/XXVIII, 2014-2015, pp. 63-91
– BECK (E. M.), (A) musical interpretation of Andrea di Bonaiuto’s Allegory of the Dominican Order, voll. IX-XII, 1992-1995, pp. 123-138

  • A new reading of the ‘Mozart family portrait’, vol. XXIX, 2017, pp. 159-175

– BELLIA (A.), (La) lastra plumbea di Piazza Armerina (VI sec. a. C.),. Un archetipo di iconografia musicale dionisiaca?, vol. XIV, 2011, pp. 13-22
• Mito e rito nelle raffigurazioni musicali dei Pinakes di Lipari, vol. XIII, 2006-2010, pp. 11-24
– BESCHI (L.), (L’) immagine della Musica in Paolo Veronese. Una proposta per la lettura del concerto delle Nozze di Cana, voll. XVI/XVII, 1999-2000, pp. 171-191
• Mousikè Téchne e Thánatos: l’immagine della musica sulle lekythoi funerary attiche a fondo bianco, vol. VIII, 1991, pp. 39-59
– BORGHETTI (V.), (Il) manoscritto, la messa, il giovane imperatore. La messa «Fors seulement” di Pepelare e la politica imperiale della Casa d’Austria, vol. XX, 2003, pp. 65-107
– BOYER OWENS (M.), (The) Image of King David in Prayer in Fifteenth-Century Books of Hours, vol. VI, 1989, pp. 23-38
– BRAN-RICCI (J.), (La) flûte traversière chez Diderot. Tentative d’investigation à travers l’«Encyclopédie», vol. IV, 1987, pp. 325-334
• Geneviève Thibault de Chambure: Du Musée Instrumental au Centre d’Iconographie Musicale du Centre National de la Recherche Scientifique, vol. IV, 1987, pp. 17-20
– BRAUN (J.), (Die) Musikikonographie des Dionysoskultes im römischen Palästina, vol. VIII, 1991, pp. 109-133
– BRIGMAN (N.), Portraits de musiciens: le dernier avatar de Monteverdi, vol. IV, 1987, pp. 161-169
– BROCK (M.), ut pictura musica. Comment l’image fait-elle voir la musique?, voll. XVI/XVII, 1999-2000, pp. 61-79
– BROOK (B. S.), Musical Iconography: recent strides, future goals, vol. IV, 1987, pp. 357-359
– BROOKS (L. M.), Text and image as evidence for posture and movement style in seventeenth-century Spain, vol. XIII, 1996, pp. 39-61
– BRUMANA (B.), (Gli) albums de romances illustrate di Francesco Masini e la sua collaborazione con Jules David nel 1842, vol. XXVI, 2013, pp. 99-135

  • Percorsi musicali della devozione: graffiti del Cinquecento in un ciclo pittorico della Pinacoteca comunale di Assisi e le loro concordanze, vol. XXIX, 2017, pp. 53-76

– BUCH (D. J.), (The) Coordination of Text, Illustration, and Music in a Seventeenth-Century Lute Manuscript: La Réthorique des Dieux, vol. VI, 1989, pp. 39-81
– BÜCHLER (A.), Music both high and low: Tancred of Lecce enters Palermo, 1190, voll. IX-XII, 1992-1995, pp. 91-122
– BUCKLEY (A.), Music-related imagery on early Christian insular sculpture: identification, context, function, vol. VIII, 1991, pp. 135-199
– BUGINI (E.), Musica tarsiata. Catalogo dei soggetti musicalmente rilevanti del magister perspectivae Giovanni da Verona, vol. XIV, 2011, pp. 61-90

  • La nature morte à sujet musical du Lambris de la chapelle de Claude d’Urfé, vol. XXIX, 2017, pp. 33-51

– BUSCH-SALMEN (G.), Musikerwohnungen des 19. Jahrhunderts als ikonographische Quelle, vol. IV, 1987, pp. 151-158
– CHAMPA (K. S.), Concert Music: the master model for radical painting in France, 1830-1890, voll. XVI/XVII, 1999-2000, pp. 207-221
– CHANG (P.), Han Xi Zai’s Night Banquet: a silk painting from the tenth-century Nan Tang court, voll. IX-XII, 1992-1995, pp. 9-41
– CHARLES-DOMINIQUE (L.), (L’) iconographie musicale, révélateur de la marginalité ménétrière: l’exemple des fêtes tpiòuosaines, officielles, publiques, civiles et religieuse, du XVe au XVIIIe siècle, vol. XIII, 1996, pp. 145-164
– CORREIA DE SOUSA (L.), Catalogus. Portuguese sources for medieval music iconography, voll. XXI/XXII, 2004/2005, pp. 65-102

-CAVICCHI (C.), Rubens et l’Italie: la musique des mythes et des passions, vol. XXIX, 2017, pp. 137-157
– DELLA PORTA (P. M.), GENOVESI (E.), (The) figure of the shepherd-musician from the late Middle Ages to the Renaissance: some iconographical examples from Central Italy, vol. VII, 1990, pp. 25-39
• (The) musical images of Agostino di Duccio from the Tempio Malatestiano and the Oratorio di San Bernardino in Perugia, voll. XVI/XVII, 1999-2000, pp. 139-169
– DUGOT (J.), Parcours, detours et pièges, vol. IV, 1987, pp. 239-254
– EMSCHEIMER (E.), On the Ergology and Symbolism of a Shaman Drum of the Khakass, vol. V, 1988, pp. 145-166
– FALVY (Z.), Angel Musicians on a Fourteenth-Century French Reliquary, vol. IV, 1987, pp. 229-238
– FERRARI-BARASSI (E.), (La) peinture dans l’Italie du nord pendant la Renaissance: problèmes d’investigation organologique, vol. IV, 1987, pp. 255-269
– FINK (M.), Kompositionen nach Bildern von Arnold Böcklin, vol. VI, 1989, pp. 143-163
– FLOREA (A.), Music in Carol Popp de Szathmary’s Paintings, vol. VI, 1989, pp. 109-141
– FONTAINE (M. M.), Images poétiques autour de la pratique musiscale, voll. XVI/XVII, 1999-2000, pp. 81-92
– FRINGS (G.), Dosso Dossis Allegorie der Musik und die Tradition des inventor musicae in Mittelalter un Renaissance, voll. IX-XII, 1992-1995, pp. 159-203

-FURNISS (I.), HAGEL (S.), Xiwangmu’s double pipe: a musical link to the far hellenistic west?, vol. XXIX, 2017, pp. 7-32
– GABIEC (D.), (Le) contexte historique, culturel et politique des monuments de Chopin et leur rôle dans la création d’un mythe national, vol. XXVI, 2013, pp. 137-172

-GEPHART (E. W.), In search of pictorial music: Synaesthesia and embodied ecperience in Arthur B. Davies’s murals for Lillie Bliss,Vol. XXVII/XXVIII, 2014-2015, pp. 175-212

– GÉTREAU (F.), (L’) image du faiseur d’instruments de musique à la Renaissance, voll. XVI/XVII, 1999-2000, pp. 117-136
• (Le) monument de Henry du Mont et la sculpture funéraire à l’époque du père Ménestrier, vol. XXV, 2012, pp. 77-106
• (A) rediscovered portrait of Henrietta-Anne of England: music, portraiture, and the arts at the court of France, vol. XXVI, 2013, pp. 7-45
• Watteau et sa génération : contribution à la chronologie et à l’identification de deux instruments pastoraux, vol. IV, 1987, pp. 299-314
– GHIRARDINI (C.), “Eyewtness” accounts of Turkish music and dance in the eighteenth century, vol. XXVI, 2013, pp. 47-77
– GIBBONS (W.), Illuminating Florence revisiting the composer portraits of the Squarcialupi Codex, vol. XIII, 2006-2010, pp. 25-45

-GILLETTE (A.), Depicting the sound of silence: angels’ music and “angelization” in medieval sacred art, Vol. XXVII/XXVIII, 2014-2015, pp. 95-125

-GITTO (S.), I diorami teatrali di Martin Engelbrecht nella collezione musicale di Palazzo Pitti: un connubio eccezionale tra la musica e la stampa d’arte, Vol. XXVII/XXVIII, 2014-2015, pp. 27-61

– GOLTZ (M.), Feine Unterschiede: Komponisten, Dichter und Interpreten in der Memorialikonographie Mainingens, vol. XXV, 2012, pp. 145-186
– GONZÁLEZ DE BUITRAGO (A.), (La) Tarasca madrileña: algunas imágenes representativas, vol. XIII, 1996, pp. 107-130
– GRAMIT (D.), (The) Music Paintings of the Cappella Palatina in Palermo, vol. II, 1985, pp. 9-49
– GÖTZ (F.), Musikalische Themen in Gemälden und Zeichnungen deutscher Künstler in der ersten Hälfte des 19. Jahrhunderts, voll. XXI/XXII, 2004/2005, pp. 149-169
– GOULAKI-VOUTIRA (A.), Metamorphoses of Orpheus in Modern Greek Art, vol. XIV, 2011, pp. 127-148
• Music on phlyax vases, voll. XVIII-XIX, 2001/02, pp. 35-57
• (Die) musizierenden Engel des Genter Altars, vol. V, 1988, pp. 65-74
• Neugriechischer Tanz und Musik aus europäischer Sicht, vol. VII, 1990, pp. 189-232
• Observations on domestic music making in vase paintings of the fifth century B.C., vol. VIII, 1991, pp. 73-94
– GUARINO (R.), Figure set mythes de la musique dans les spectacles de la Renaissance italienne, voll. XVI/XVII, 1999-2000, pp. 11-24
– GUIDOBALDI (N.), Images of music in Cesare Ripa’s Iconologia, vol. VII, 1990, pp. 41-68

  • Dipingere i suoni: l’immaginario musicale nell’epoca di Rubens, vol. XXIX, 2017, pp. 97-135

– GUILLO (L.), (La) figure de Cécile: enquête sur l’affiche du Puy d’Évreux de 1667, vol. XIV, 2011, pp. 113-126
– GUILLUOX (F.), Saint François d’Assise et l’ange musicien: un topos iconographique et musical chrétien, vol. XXV, 2012, pp. 29-75
– GUIZZI (F.), (The) oboe of Quintus Appeus Eutychianus: a rare representation of a Roman single conical reed-pipe, voll. XVIII/XIX, 2001/02, pp. 121-154
• (The) sounds of povertà contenta: cityscape, landscape, soundscape, and musical portraiture in Italian genre painting of the 17th and 18th centuries, vol. VII, 1990, pp. 115-147
• Visual message and music in cultures with oral tradition, vol. VII, 1990, pp. 7-23
– GUIZZI (F.), STAITI (N.), Mania e musica nella pittura vascolare apula, voll. IX-XII, 1992-1995, pp. 43-90
– HAINES (J.), (The) Lost Chapel oft he Saint-Julian Minstrels‘ Guild, voll. XXI/XXII, 2004/2005, pp. 229-262
– HAMMERSTEIN (R.), Musik und bildende Kunst Zur Theorie und Geschichte ihrer Beziehungen, vol. I, 1984, pp. 1-28
– HEARTZ (D.), Portrait of a Court Musician: Gaetano Pugnani of Turin, vol. I, 1984, pp. 103-119
– HEISE (B.), Catalogus, voll. IX-XII, 1992-1995, pp. 247-285
– HOFFMANN-AXTHELM (D.), Kithara und Aulos im Streit Zur ikonographischen Deutung des Freskos «L’investitura a Cavaliere di San Martino» von Simone Martini, vol. III, 1986, pp. 31-50
– HOLL (M.), (Der) Musica Triumph – Ein Bilddokument von 1607 zur Musikauffassung des Humanismus in Deutschland, vol. III, 1986, pp. 9-30
– HOMO-LECHNER (C.), De l’usage de la cornemuse dans le banquets: quelques exemple du XVIe au XVIe siècle, vol. IV, 1987, pp. 111-119
– ILNITCHI CURRIE (G.), Catalogus. A Corpus of Pictorial Representations of Musical Instruments and Dances in the Church Frescoes of Present-day Romania Wallachia and Moldavia, ca. 1350 to ca. 1750, vol. XIII, 2006-2010, pp. 101-152
• (The) Emergence of a Paradigm: Representations of Musical Instruments in the Palaiologan Depictions of the “Mocking of Christ”, vol. XIII, 2006-2010, pp. 47-77
– JANDER (O.), (The) Radoux Portrait Beethoven’s Grandfather: Its Symbolic Message, vol. VI, 1989, pp. 83-107
– JAQUIER (P.), Redécouverte d’un portrait de Jean-Baptiste Forqueray. Découverte de certains éléments de la basse de viole représentée, vol. IV, 1987, pp. 315-324
– JUNG-KAISER (U.), Marc Chagalls Frankfurter Opernbild Commedia dell’Arte. Zur Funktion, Gattung, Bildersprache – Widersprüche und Lösungen, voll. XVI/XVII, 1999-2000, pp. 223-253
– KHACHATYRIAN (Z. D.), Dance and musical instruments on “The bowl of Pacorus”, voll. XVIII/XIX, 2001/02, pp. 99-105
• Representations of music in Armenian terracottas and toreutics (second millennium B. C. – third century A. D.), voll. XVIII/XIX, 2001/02, pp. 85-98
– KEYL (S.), Pieter Saenredam and the Organ: A Study of Three Images, vol. III, 1986, pp. 51-78
– KOS (K.), Osten und Westen in der Feld – un Militärmusik an der türkischen Grenze, vol. V, 1988, pp. 109-127
– LAFERL (C. F.), Musik und Fest in einigen narrative Texten von Miguel de Cervantes: El Quijote, La gitanilla, El celoso extremeño, La ilustre fregona, vol. XIII, 1996, pp. 63-74
– LAWERGREN (B.), (The) Cylinder Kithara in Etruria, Greece, and Anatolia, vol. I, 1984, pp. 147-174

LEONARD (A.), To themselves: music in the art of Henri Fantin -Latour and Odilon Redon,Vol. XXVII/XXVIII, 2014-2015, pp. 127-149

– LEPORE (L.), (Il) sistro italic: strumento, attributo, oggetto di culto, vol. VIII, 1991, pp. 95-108
– LEPPERT (R. D.), Men, Women, and Music at Home: The Influence of Cultural Values on Musical Life in Eighteenth-Century England, vol. II, 1985, pp. 51-133
– LOOS (H.), Max Klinger und das Bild des Komponisten, vol. XIII, 1996, pp. 165-188
– LOWERRE (K.), Beauty, talent, virtue, and charm: portraits of two of Handel’s sopranos, voll. IX-XII, 1992-1995, pp. 205-246
– LUISI (M.), Icône di supporto alla poesia per musica : note sulle illustrazioni dell’editoria cinquecentesca, vol. XIV, 2011, pp. 91-111
– MAMCZARZ (I.), Iconographie musicale des gravures polonaises du XVIe au XVIIIe siècle, vol. IV, 1987, pp. 79-97
– MARCEL-DUBOIS (C.), (Le) triangle et ses représentations comme signe social et culturel, vol. IV, 1987, pp. 121-135
– MASSIP (C.), (Les) personnages musiciens dans les gravures de mode parisiennes de la fin du XVIIe siècle: intérêt et limites d’un genre iconographique, vol. IV, 1987, pp. 137-150
– MAYER BROWN (H.), Catalogus. A Corpus of Trecento Pictures with Musical Subject Matter, Part I, vol. I, 1984, pp. 189-243
• Catalogus. A Corpus of Trecento Pictures with Musical Subject Matter, Part I, Instalment 2, vol. II, 1985, pp. 179-281
• Catalogus. A Corpus of Trecento Pictures with Musical Subject Matter, Part I, Instalment 3, vol. III, 1986, pp. 103-187
• Catalogus. A Corpus of Trecento Pictures with Musical Subject Matter, Part II/1, Instalment 4, vol. V, 1988, pp. 167-241
– MCGEE (T. J.), Misleading iconography: the case of the “Adimari Wedding Cassone”, voll. IX-XII, 1992-1995, pp. 139-157
– MCKINNON (J.), (The) Fifteen Temple Steps and the Gradual Psalms, vol. I, 1984, pp. 29-49

-MEDNICOV (M. L.), How to hear a painting: looking and listening to Pop art, Vol. XXVII/XXVIII, 2014-2015, pp. 213-228

– MILLIOT (S.), Heurs et malheurs de l’iconographie musicale: les instruments de musique dans les natures mortes de Baschenis, vol. IV, 1987, pp. 283-297
– NAEREBOUT (F. G.), (The) Baker dancer and other Hellenistic statuettes of dancers. Illustrating the use of imagery in the study of dance in the ancient Greek world, voll. XVIII/XIX, 2001/02, pp. 59-83
– NECTOUX (J.-M.), Isadora et Nijinski: danser l’antique, vol. XXV, 2012, pp. 187-199
– NORDQUIST (G. C.), (The) salpinx as an instrument of Eros and Dionysus, vol. VIII, 1991, pp. 61-72
– OLSEN (D. A.), (The) Flutes of El Dorado: Musical Effigy Figurines of the Tairona, vol. III, 1986, pp. 79-102
– PERRIS (A.), Padmasaṃbhava’s Paradise Iconographical and Organological Remarks on a Tibetan Ritual Painting, vol. I, 1984, pp. 175-187
– PETROBELLI (P.), On «Reading» Musical Caricatures: Some Italian Examples, vol. II, 1985, pp. 135-142
– PISTONE (D.), Photographie et musique à Paris avant la Première Guerre Mondiale: bilans et perspectives de la recherche. Avec un index alphabétique des portraits reproduits dans «Musica» (1902-1914), vol. IV, 1987, pp. 171-205
– ROCHA (L.), Caricature in Portugal during the ninenteenth century. The production and reception of Wagner’s work in the S. Carlos theatre as depicted in Rafael Bordalo Pinheiro’s caricatures, voll. XXI/XXII, 2004/2005, pp. 171-189
– ROUMPI (A.), (The) Killing of Bousiris: the Vase-Painter’s Idea of the Musician in the Service of an Egyptian King, vol. XIV, 2011, pp. 23-41
– RUSSEL (T. A.), (The) Development of the Cello Endpin, vol. IV, 1987, pp. 335-356
• (An) interpretation of Paolo Zaccchia’s Portrait of a Musician, voll. XVI/XVII, 1999-2000, pp. 193-205
– SALMEN (W.), (L’) iconographie des lieux de la danse et de son accompagnement musical avant 1600, vol. IV, 1987, pp. 99-109
– SANDBERGER (W.), Johannes Brahmas im Komponistenhimmel: zum Deckengemälde der Zürcher Tonhalle von 1895, vol. XXV, 2012, pp. 129-143
– SANTARELLI (C.), Courtly paintings in the Manta Castle: King David among the Heroes and Heroines, and the Fountain of Youth, voll. XXI/XXII, 2004/2005, pp. 135-148
– SAWA (G. D.), (The) Differing Worlds of the Music Illuminator and the Music Historian in Islamic Medieval Manuscripts, vol. VI, 1989, pp. 7-22
– SCHAIK (M. van), (The) Cymbala in Psalm 80 Initials: A Symbolic Interpretation, vol. V, 1988, pp. 23-40
• (The) divine bird: the meaning and development of the water bird embellishment on musical instruments in ancient Greece, voll. XVIII-XIX, 2001/02, pp. 11-33
– SEEBAß (T.), Deux analyses iconographiques (1924 et 1985). Un hommage à la Comtesse de Chambure, vol. IV, 1987, pp. 35-44
• Giorgiones und Tizians fantasie mit Musik Bilder zum künstlerischen Lebengsgefühl der Ranaissance, voll. XVI/XVII, 1999-2000, pp. 25-60
• Idyllic Arcadia and Italian musical reality : experiences of German writers and artists (1770-1835), vol. VII, 1990, pp. 149-187
• (The) power of music in Greek vase painting: reflections on the visualization of rhythmos (order) and epaoidē (enchanting song), vol. VIII, 1991, pp. 11-37
• Reinhold Hammerstein zum Gedenken, vol. XIV, 2011, pp. 7-11
– SEVESTRE (N.), Quelques documents d’iconographie musicale medieval: l’image et l’école autour de l’an mil, vol. IV, 1987, pp. 23-34

-SINGLETARY (S.), Wagner versus Wagnerism: the case of the Gesamtkunstwerk or will the real Wagner please stand up,Vol. XXVII/XXVIII, 2014-2015, pp. 151-174

– SLIM (H. C.), Paintings of Lady Concerts and the Transmission of «Jouissance vous donneray», vol. I, 1984, pp. 51-73
• Tintoretto’s «Music-Making Women» at Dresden, vol. IV, 1987, pp. 45-76
– SLOBIN (M.), Icons of Ethnicity: Pictorial Themes in Commercial Euro-American Music, vol. V, 1988, pp. 129-143
– SOMMER-MATHIS (A.), Parnaß – Heikon – Olymp: der Musenberg im höfischen Fest. Zur Darstellung der Musik in den Florentiner Renaissancefesten, vol. XIII, 1996, pp. 75-106
– SPARTI (B.), Dancing couples behind the scenes: recently discovered Italian illustrations, 1470-1550, vol. XIII, 1996, pp. 9-38
– STAITI (N.), Identificazione degli strumenti musicali e natura simbolica delle figure nelle «Adorazioni dei pastori» siciliane, vol. V, 1988, pp. 75-107
• Musicians in a mosaic from the “Villa di Cicerone” at Pompeii, voll. XVIII/XIX, 2001/02, pp. 107-119
• Satyrs and shepherds: musical instruments within mythological and sylvan scenes in Italian art, vol. VII, 1990, pp. 69-113
– STEVENS (J. R.), Hands, Music, and Meaning in Some Seventeenth-Century Dutch Paintings, vol. I, 1984, pp. 75-102
– STOLLBERG (A.), Anatomie einer materiellen Seele: Joseph Franz von Goetz’ Kupperstiche und Peter von Winters Musik zum Melodram Lenardo und Blandine, vol. XIII, 2006-2010, pp. 79-99
– TAMMEN (B. R.), Catalogus. Musikdarstellungen in der Kunst am Bau der Stad Wien und anderer Bauträger, ca. 1920-1970. Tail 1: Gemeindebauten, vol. XIV, 2011, pp. 149-226
• „Marginalien“. Musizierende Randfiguren in mittelalterlichen Handschriften der Österreichischen Nationalbibliothek und ihre Funktion, voll. XXI/XXII, 2004/2005, pp. 105-133
• Musik, Bild und Text in der Wenzelsbibel, vol. XX, 2003, pp.7-64
– TELESKO (W.), (Die) Musikerdenkmäler und ihre Stellung innerhalb des Denkmalkults der Habsburgermonarchie des 19. Jahrhunderts, vol. XXV, 2012, pp. 107-128
– TÉRCIO (D.), Ape dances and popular dances on Portuguese figurative tile panels from the seventeenth and eighteenth centuries, vol. XIII, 1996, pp. 131-143
– TEVIOTDALE (E. C.), (The) Filiation of the Music Illustrations in a Boethius in Milan and in the Piacenza «Codice magno», vol. V, 1988, pp. 722
– TOLLEY (T.), “Exemplary patience”: Haydn, Hoppner and Mrs Jordan, vol. XX, 2003, pp. 109-141
– TRINCHIERI CAMIZ (F.), Augustinian Musical Education and Redemption in the Fifteenth-Century Caracciolo del Sole Chapel, Naples, vol. V, 1988, pp. 41-64
– TSUGE (G.), (The) Qalun’ : An Uyghur Psaltery Depicted in Persian Miniatures, vol. XIV, 2011, pp. 43-59

-VAN DER LINDEN (H.), Opera and porcelain in eighteenth-century Germany: Hasse, Bordoni, and some Meissen figure groups, Vol. XXVII/XXVIII, 2014-2015, pp. 7-26

– VENDRIX (P.), (La) dialectique de l’image et du texte dans les traits imprimés de la Renaissance (ca. 1470-ca. 1620), voll. XVI/XVII, 1999-2000, pp. 93-116
– VICKERS (A.), (The) Realm oft he Senses: Images oft he Court Music of Pre-Colonial Bali, vol. II, 1985, pp. 143-177
– WOLFF (H. C.), Max Klingers Verhältnis zur Musik, vol. I, 1984, pp. 121-145
– WUIDAR (L.), De l’emblème au canon. Étude iconographique et essai herméneutique de Kircher à a Bach, voll. XXI/XXII, 2004/2005, pp. 263

-ZIMEI (F.), Imagination and reality in a village chapel of central Italy: two seventeenth century motets in performance, vol. XXIX, 2017, pp. 77-95

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