Musical Iconography
Code: 100645 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 2500240 Musicology | OT | 3 | 2 |
| 2500240 Musicology | OT | 4 | 2 |
Contact
- Name:
- Jordi Ballester Gibert
- Email:
- jordi.ballester@uab.cat
Use of Languages
- Principal working language:
- catalan (cat)
- Some groups entirely in English:
- No
- Some groups entirely in Catalan:
- Yes
- Some groups entirely in Spanish:
- No
Prerequisites
This course has no prerequisites.
Objectives and Contextualisation
The aim of the course is to provide an approach to iconographic depictions with musical contents in Western art.
Objectives:
- An overview of the main research currents in music iconography.
- An overview of the main iconographic cataloguing systems applied to music iconography.
- Learn how to analyze and interpret iconographic representations (from different points of view: artistic, symbolic, organological, etc...) according to the different historical periods.
Competences
- Musicology
- Identify and compare the different channels of reception and consumption of music in society and in culture in each period.
- Recognise the role of music in current society, its function in performances, its relationship with audio-visual culture, technology and informatics, and with leisure and cultural enterprises.
- Relate concepts and information from different humanistic, scientific and social disciplines, especially the interactions which are established between music and philosophy, history, art, literature and anthropology.
- Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
- Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
- Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
- Students must have and understand knowledge of an area of study built on the basis of general secondary education, and while it relies on some advanced textbooks it also includes some aspects coming from the forefront of its field of study.
Learning Outcomes
- Accurately describing the artistic object with the specific language of art criticism.
- Analyse the evolution of the artistic image from Ancient history to contemporary visual culture.
- Applying the iconographic knowledge to the reading of artistic imagery.
- Applying the knowledge about aesthetic ideas and art theory to the analysis of the artistic imagery.
- Develop habits for transfer to the ambit of musical dissemination and information the musical training acquired.
- Identify the main problems, vocabulary and conetps in art and music theory.
- Identifying the artistic imagery, placing it into its cultural context.
- Interpret the rules localized information on the websites of regulatory bodies on the Internet.
- Link the periods of the history of music to periods of the history of art, in their similarities and differences.
- Localise different iconographic manifestation in the culture of different periods.
- Prepare oral presentations on an analytical question and adapt them to the level and expectations of the audience or group.
- Solve problems of a methodological nature in the area of musicology.
- Use basic vocabularyand tools to describe and transmit knowledge acquired through effective oral presentations of musicological content adapted to the audience.
- Use the main concepts related to musical iconography and the vocabulary associated with them.
- Write critical papers on musicology that are planned and organised efficiently.
Content
1.- Concept of iconography. Scope of iconography. Iconography and iconology: terminological problems. The relationship between musicology and art history: musical iconography.
2.- Musical iconography within musicology. Main currents of study of musical iconography: iconography as a primary source and iconography as a secondary source. Iconography and organology. “Musical” problems of iconographic representations. Iconography and the study of music as a social phenomenon.
3.- The International Repertoire of Musical Iconography (RIdIM). Criteria for cataloging musical iconography. The proposals of the RIdIM. Other proposals for iconographic cataloging. The IcMuC.
4.- Methodologies of study and iconographic analysis.
5.- Musical iconography in antiquity: main iconographic representations (Apollo, Marsyas, Orpheus, the muses, etc.), significance and contributions to musicology.
6.- Medieval Christian iconography and music. Representations of King David. Angel musicians. Marian scenes and lives of saints. Narratives of the life of Christ. The Apocalypse. Other medieval representations.
7.- Musical iconography and modern art. Profane representations in the framework of humanist thought. The portraits of musicians. Art and allegory. Religious representations. Still lifes.
8.- Musical scenes in the romanticism. Permanence and changes in the symbolic significance of 19th century musical iconography. Nationalism and music through images.
9.- Iconography and music in contemporary art: Music and musicians in Cubist art; Music and abstract art; Music and synesthesia; Iconography, music and postmodernity.
Methodology
Several teaching-learning strategies will be combined in order to achieve the objectives of the course:
- Lectures: teacher will explain the basic concepts of the subject.
- Practical activities and tasks: students will work individually or in small groups to solve practical activities.
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Classroom discussions | 9 | 0.36 | 2, 3, 4, 1, 5, 14, 7, 6, 8, 10, 12, 13, 9 |
| Lectures | 23 | 0.92 | 2, 3, 4, 1, 14, 7, 6, 8, 10, 12, 9 |
| Type: Supervised | |||
| Oral and written tasks (individual) | 15 | 0.6 | 3, 4, 1, 14, 7, 6, 8, 10, 11, 12, 13, 9 |
| Type: Autonomous | |||
| Readings | 15 | 0.6 | 2, 5, 14, 7, 6, 8, 10, 12, 9 |
| Study | 50 | 2 | 2, 3, 4, 5, 14, 7, 6, 8, 10, 12, 13, 9 |
Assessment
Assessment activities *:
- a. Written test on Music Iconography (45%) [it will be held at the end of the semester].
- b. Cataloguing exercise using IcMuC Database (30%).
- c. Oral presentation of the Cataloguing exercise (15%)
- d. Participation in classroom discussions, group tasks and presentations, and Attendance to a Conference on music iconography (5%)
- f. Class attendance and participation in classroom discussions (5%) [a minimum of 80% is required for acceptable attendance -either face-to-face or, eventually, virtual attendance-].
Grade revision process
After each assessable item is given a grade, students will be informed of the date and way in which they will be published. Students will also be informed of the procedure, place, date and time of grade revision (following University regulations).
Resitting Process
A resit will be held for students whose grade average is lower than 5 points out of 10. However, in order to take part in the resit, students must have been previously assessed in, at least, 45% of the assessment activities (that is, the Written test on Music Iconography). The date of the resit exam will be posted in the calendar of the Faculty assessment activities
Non-assessable
A student submitting less than 45%of grading tasks, will be considered as 'non-assessable'.
Important: In the event of a student committing any irregularity that may lead to asignificant variationin the grade awarded to an assessment activity, the student will begiven a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.
In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Cataloguing exercise (IcMuC Database) | 30% | 36 | 1.44 | 2, 3, 4, 5, 14, 6, 8, 10, 15, 12, 9 |
| Class attendance | 5% | 0 | 0 | 2, 3, 4, 14, 7, 6, 10, 9 |
| Oral presentation of cataloguing exercises | 15% | 0.5 | 0.02 | 2, 14, 6, 10, 11, 13, 9 |
| Participation in classroom discussions and Attendance to a Conference on music iconography | until 5% | 0 | 0 | 2, 4, 1, 14, 7, 6, 10, 12, 9 |
| Written test | 45% | 1.5 | 0.06 | 2, 3, 4, 1, 14, 7, 6, 10, 12, 9 |
Bibliography
Bibliography
General references:
Baldassarre, A. “The Musicalization of the Visual Arts. Cosiderations of 20th century music iconography research” Musique-Images-Instruments 10 (2008): 142-169.
Ballester, J. “Iconografía musical: una disciplina entre la musicología y la historia del arte” Edades 10 (2002): 147-156.
Ballester, J. “Organología e iconografía” Revista de Musicología XXXII/2 (2009): 167-180.
Ballester, J. “Past and present of music iconography in Spain” Music in Art XXVII/1-2 (2002): 7-11.
Bordas, C. & de Vicente, A. “Recopilación bibliográfica de iconografía musical española” Music in Art XXX/1-2 (2005): 205-227.
Bordas, C. “Música y artes plásticas. Una presentación y otra mirada más al Pórtico de la Gloria” a Campos Interdisciplinares de la Musicología. Actas del V Congreso de la Sociedad Española de Musicología. Madrid: SEdeM, 2001: 1227-1242.
Brown, H.M. “Iconography of Music” New Grove 9 (1980): 11-18.
Brown, H.M. & Lascelle, J. Musical Iconography: A Manual for Cataloguing Musical Subjects in Western Art before 1800. Cambridge: Harvard University Press, 1972.
Castiñeiras González, M.A. Introducción al método iconográfico. Santiago: Tórculo Edicións, 1997.
Duchet-Suchaux, G. & M. Pastoureau, M. Guía iconográfica de la Biblia y los santos. Madrid: Alianza, 1996.
Ford, T. List of western instruments annoted from an iconographical point of view. New York: Research Center for Music Iconography, 1987.
Hall, J. Diccionario de temas simbólicos y artísticos. Madrid: Alianza, 1996)
Lexicon Iconographicum Mythologicae Classicae. Zürich & München: Artemis, 1981-1997.
Panofsky, E. Estudios sobre iconología. Madrid: Alianza, 1972.
Réau, L. Iconographie de l’Art Chrétien. Paris: P.U.F., 1956-59.
Schiller, G. Iconography of Christian Art. London: Lund Humphries, 1971-72.
Seebass, T. “Prospettive dell’Iconografia Musicale” Rivista Italiana di Musicologia XVIII (1983): 67-86.
Seebass, T. “Iconography” New Grove 12 (2001): 54-71.
van Straten, R. An introduction to iconography. Yverdon: Gordon & Breach, 1994.
van de Waal, H. Inconclass. An iconographic classification system. Leiden, 1973-1985 17 vols.
Journals:
Imago Musicae
Music in Art (RCMI / RIdIM Newsletter)
Musique - Images - Instruments
Monographs:
Barbe, M. (ed.), Musique et Arts Plastiques. Analogies et interférences. Paris: PUF, 2006.
Bosseur, J-I. Musique et arts plastiques. Paris: Minerve, 1998.
Bosseur, J-I. Musique et beaux-arts. De l'Antiquité au XIXe siècle. Paris: Minerve, 1999.
Clouzot, M. Images de musiciens (1350-1500). Typologies, figurations et pratiques sociales. Turnhout: Brepols, 2007.
Clouzot, M. La musicalité des images au Moyen Age: instruments, voix et corps sonores dans les manuscrits enlumines (XIIIe-XIVe siecles). Turnhout: Brepols, 2021.
Clouzot, M. Le Jongleur. Mémoire de l'Image au Moyen Age. Figures, figurations et musicalité dans les manuscrits enluminés (1200-1330). Berne: Peter Lang, 2011.
Ember, I. Music in Painting. Budapest: Corvina, 1989.
Ferino-Pagden, S. Dipingere la musica. Strumenti in posa nell’arte del Cinque e Seicento. Milano: Skira, 2000.
Illiano, R. (ed.). Music and Figurative Arts in the Nineteenth Century Turnhout: Brepols, 2020.
Illiano, R. (ed.). Music and Figurative Arts in the Twentieth Century Turnhout: Brepols, 2017.
Leppert, R. Music and Image. Domesticity, ideology and socio-cultural formation in eihteenth-century England. Cambridge: C.U.P., 1988.
López-Calo, J. (ed.), Los instrumentos del Pórtico de la Gloria. Su reconstrucción y la música de su tiempo, 2 vols La Coruña: Fundación Pedro Barrié de la Maza, 1993.
Marchesin, I. L'Image Organum. La représentation de la musique dans les psautiers médiévaux 800-1200. Turnhout: Brepols, 2000.
Mirimonde, A. P. Astrologie et Musique. Genève: Minkoff, 1977.
Mirimonde, A. P. L’iconographie musicale sous les rois bourbons. La musique dans les arts plastiques (XVII-XVIII siècles). Genève: Minkoff, 1977.
Robledo, L. Los emblemas musicales de Juan de Vado. Madrid: Fundación Caja Madrid, 2009.
Rubin, J. H. & Mattis, O. (eds.). Rival Sisters, Art and Music at the Birth of Modernism, 1815-1915. London: Ashgate, 2014.
Slim, H.C. Painting Music in the Sixteenth Century. Aldershot: Ashgate, 2002.
Staiti, N. Angeli e pastori. L’imagine musicale della Natività e le musiche pastorali natalizie (Bolonia: Ut Orpheus Edizioni, 1997).
Villanueva, C. (ed.), El Pórtico de la Gloria. Música, Arte y Pensamiento. Santiago de Compostela: Servicio de Publicaciones de la Universidad de Santiago, 1988.
Villanueva, C. (ed.), El sonido de la piedra. Actas del encuent.ro sobre instrumentos en el Camino de Santiago. Santiago de Compostela: Xunta de Galicia, 2005.
Wieseman, M. E. Vermeer and Music. The Art of Love and Leisure. London: National Gallery Company, 2013.
Winternitz, E. Musical instruments and their symbolism in western art. New Haven & London: Yale University Press, 1979.
Software
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