Preliminary Program

 

 

Wednesday, 5 November 2003
CUNY GC Elebash Recital Hall 9:00-10:00 Registration
CUNY GC Elebash Recital Hall   10:00-12:30   Music symbolism in visual arts Chair: Katherine Powers
Ellen Van Keer (Center Leo Apostel, Brussels Free University), The ancient Greek myth of Marsyas: The curse of the aulos and the blessing of mythological iconography
Mary Rasmussen (Durham, New Hampshire), Music, astrology, and the power of women: Some aspects of sixteenth- and seventeenth-century Dutch and Flemish music iconography
Darja Koter (Akademija za Glasbo, Ljubljana), Turqueries and Chinoiseries with the symbols of music: Some examples from Slovenia
Jannet Ataeva (Rossijskij Institut Istorii Iskusstv, St. Petersburg), Iconography of musical instruments in St. Petersburg monumental and decorative sculpture
CUNY GC Elebash Recital Hall 2:00-3:30   Emanuel Winternitz Chair: Zdravko Blazekovic
Leslie Hansen Kopp (New York), Music forgotten and remembered: The life and times of Emanuel Winternitz
Heinz-Jürgen Winkler (Hindemith-Institut, Frankfurt am Main), Paul Hindemith, Emanuel Winternitz und Collegium Musicum
11 East 52nd Street New York, NY 10022         7:00-8:30   Opening ceremony

 

 

 

Thursday, 6 November 2003
CUNY GC Elebash Recital Hall   9:00-11:00   Interrelatedness of music and visual arts in the 20th century Chair: Dorothea Baumann	CUNY GC Room 9.204 9:00-1:00   Iberia and its influences Chair: Antoni Pizà Session sponsored by the  Foundation for Iberian Music
Antonio Baldassarre (Universität Zürich), Kandinsky-Schoenberg connection reconsidered	Mauricio Molina (City University of New York Graduate School), The square drum as a semitic and messianic symbol in medieval Spanish iconography
Dujka Smoje (Université de Montréal, Faculté de Musique), «The Well-Tempered Clavier» in Jakob Weder’s painting	Egberto Bermudez (Universidad Nacional de Colombia, Bogotá), The harp in the Iberian countries and its dominions, 1550-1800: A view through iconography
Anno Mungen (Universität Mainz/Hochschule für Musik Köln), Music iconography of modernism: From the Weimar Republic to Nazi Germany and beyond	Jordi Ballester (Universitat Autònoma de Barcelona), Music in the 16th-century Catalan painting
Marin Marian Balasa (Institutul de Etnografie si Folclor Constantin Brailoiu, Bucharest), Money reading: A lesson about fatherland’s castrating terrors and motherland’s musical pleasures	Sara González Castrejón (Universidad de Castilla-La Mancha, Toledo), An Iconography of Chaos: Music images in seventeenth-century royal funerals in Spain
Break
CUNY GC Elebash Recital Hall  11:30-1:30   Angels and saints Chair: H. Colin Slim
Barbara Russano Hanning (The City College, City University of New York), From saint to muse: Saint Cecilia in Florence	Anna Cazurra (Universitat de Barcelona), The woman and the music in the Catalan Modernism: A study of a painting collection by Ramon Casas in the Teatre del Liceu of Barcelona
Sabine Meine (Hochschule für Musik und Theater Hannover), Caecilia without gloriole – Changing musical virtus	Aurelia Pesarrodona (Barcelona), Pictorial subjects in Josep Soler: Dürer and Murillo
Elena Ferrari Barassi (Università degli Studi di Pavia, Facoltà di Musicologia, Cremona), Two images of Saint Mary Magdalene in the church of Cusiano, Italy	Laurence Libin (The Metropolitan Museum of Art), Music in paintings of Jose Campeche
Katherine Powers (California State University Fullerton), Music-making angels in Italian Renaissance painting: Symbolism and reality
CUNY GC Elebash Recital Hall 2:30-6:00   Mexico Chair: Egberto Bermudez	CUNY GC Room 9.204 2:30-6:00   Manuscript studies Chair: Björn R. Tammen
Robert Starner (Albuquerque, New Mexico), Two Mexican bajones: Double reed iconography in rural Michoacán	Aygul Malkeyeva (New York), Mystical world of music in the Islamic miniatures
Maria Elena Santos (Universidad Nacional Autonoma de Mexico), Musical iconography in paintings of Cristobal de Villalpando	Andras Borgo (Innsbruck), Die Musikinstrumente Mirjams in mittelalterlichen hebräischen Darstellungen
José Antonio Robles Cahero (Centro Nacional de Investigación, Documentación e Información Musical, Instituto Nacional de Bellas Artes, México), "Sones", "jarabes" and "fandangos": Images of popular dance and music in the visual narratives of 19th-century Mexican music iconography	Sarah Davies (New York University), "Ausgeschnitten und... in Braunschweig gehenfort": The lost engravings of the Hainhofer lutebook found
Break
Beatriz Zamorano Navarro (Centro Nacional de Investigación, Documentación e Información de las Artes Plásticas, Instituto Nacional de Bellas Artes, México), Brush and harmony: From rural life to suburban popular music in the works of two 20th-century Mexican artists	Michael Eisenberg (City University of New York Graduate Center), Reading apocalyptic iconography in a trecento Bible
Mark Howell (City University of New York Graduate Center), Meanings behind the representations of pre-Columbian Mayan trumpets	Björn R. Tammen (Vienna), The sacred and the profane: Music in the margins of late-medieval Books of Hours
Luis Antonio Gómez (Centro Nacional de Investigación Documentación e Información Musical "Carlos Chávez" (CENIDIM) del INBA, México) & Ramiro Lafuente López (Centro Universitario de Investigaciones Bibliotecológicas (CUIB) de la UNAM, México), The analysis of musical iconography in Mixtec pre-Hispanic codices	Vladimir A. Belov (Rossijskij Institut Istorii Iskusstv, St. Petersburg), The illustrations in the Utrecht Psalter and the introduction of bowing in Western Europe
CUNY GC Elebash Recital Hall 8:00-10:00 Iberian Piano Music and Its Influences Adam Kent, piano

 

 

Friday, 7 November 2003
CUNY GC Elebash Recital Hall  9:00-11:00   Romanticism Chair: Antonio Baldassarre	CUNY GC Room 9.204 9:00-11:00   Qin Chair: Bo Lawergren
Theodor Albrecht (Kent State University), The musicians in Balthazar Wigand’s depiction of the performance of Haydn’s Die Schöpfung, Vienna, March 27, 1808	Bo Lawergren & Jung-Ping Yuan, Introduction to the qin (demonstration)
Anna Celenza (Michigan State University, East Lansing), Appropriating Beethoven: Musical imagery in the 1902 Klinger-Beethoven exhibition	Bo Lawergren (Hunter College, CUNY), Iconography of the Chinese Qin (400 BC–900 AD)
Nancy November (Victoria University, Wellington), Nineteenth-century visual ideologies of Haydn and the string quartet	Mingmei Yip (New York), Women qin players: Gentry women, courtesans, nuns
Charles Frederick Frantz (Conservatory of Music, Lawrenceville & Westminster Choir College, Princeton), "Le décor symbolique": Debussy, Gallé	Mitchell Clark (Museum of Fine Arts, Boston), Iconography of the Chinese seven-string zither in Japan and Korea
Break
CUNY GC Elebash Recital Hall 11:30-1:30   Portraits of musicians Chair: Anno Mungen	CUNY GC Room 9.204 11:30-12:30   Asia Chair: Stephen Blum
Mariagrazia Carlone (Università di Pavia), Portraits of lutenists	Terry E. Miller (Kent State University), The uncertain evidence of Thai musical iconography
Mario Valente (UCLA Medical School), Disderi and the carte de visite photographs of Verdi	Veronika A. Meshkeris (Institute of History of Material Culture, RAN, St. Petersburg), Indian iconographic sources in musical archaeology of Middle and Central Asia
Florence Gétreau (Institut de Recherche sur le Patrimoine Musical en France, Paris), Romantic pianists in Paris: Musical images and musical literature
H. Colin Slim (University of California, Irvine), Identifying Joseph Weber's singer: Pinxit 1839"
Break
CUNY GC Elebash Recital Hall 2:30-6:00   Opera Chair: Barbara Russano Hanning	CUNY GC Room 9.204 2:30-5:00   Visions of brass Chair: Mary Rasmussen Session sponsored by the  Historic Brass Society
Olga Jesurum (Istituto Nazionale di Studi Verdiani, Parma), Romolo and Tancredi Liverani’s set design for Italian operas in the 19th century	Patrick Tröster (Historiches Museum Basel, Musikinstrumenten-Sammlung),Which kind of trumpet played the „menstrel de trompette" in Late Gothic alta bands?
Peter Beudert (School of Theatre Arts, University of Arizona), Visual art for entertainment in the 19th century: The painters of the Paris Opera	Jeffrey Kurtzman (Washington University, St. Louis), Information and lessons from the iconography of Venetian processions and ceremonies
Mathias Auclair & Pauline Girard (Bibliothèque-Musée de l’Opéra/Bibliothèque Nationale de France), Iconographie du XXe à la Bibliothèque-musée de l’Opéra.	Trevor Herbert (Open University, UK), Selling Brass Instruments: the commercial imaging of brass instruments
Break
Tatjana Markovic (Fakultet Muzicke Umetnosti, Belgrade), Iconography as a sign: The case of stage-music semiosis about Koštana	Joseph S. Kaminski (Kent State University), The search for ivory trumpets in Africa and ancient Europe using iconography as an indicator for time and distribution
Marie-Claire Mussat (Université de Rennes), From picturesque to imaginary: An image of Brittany, an iconographic reference of diversification in the French opera of the 19th century
Dorothea Baumann (Universität Zurich), Drawings of musical space: What do they tell us about acoustics?
The Metropolitan Museum of Art Uris Auditorium  7:15-8:30 Music of the Middle Ages: East and West John Thompson, qin Yuan Jung-Ping, qin *  *  *  *  * Trefoil ensemble, New York   Sponsored by The Amati: Friends of the Department of Musical Instruments of the Metropolitan Museum of Art

 

 

Saturday, 8 November 2003
The Metropolitan Museum of Art Uris Auditorium   10:00-12:00   Symbolism and reality of musical instruments I Chair: Kenneth Moore
Li Youping (Research Center for Music Archaeology in China, Wuhan Conservatory of Music), Chinese musical images and musical iconography
Cristina Alexandrescu (Archäologisches Institut der Universität zu Köln), Iconography of musical instruments in the Roman times
Valery A. Svobodov (Rossijskij Institut Istorii Iskusstv, St. Petersburg), The evolution of three stringed fiddle into two-stringed rebec
Adam Gilbert (Case Western Reserve University, Cleveland), "Tu demoures trop, Robin": Pastorelle pipes and carnal humor in Les Cent Nouvelles Nouvelles
The Metropolitan Museum of Art Uris Auditorium   1:30-3:30   Symbolism and reality of musical instruments II Chair: Laurence Libin
Debra Pring (Goldsmiths College, University of London), Love, lust and betrayal: The recorder as symbol in the visual arts and music
Laura Mauri Vigevani (Università di Pavia, Dipartimento di Scienze Musicologiche e Paleografico-Filologiche, Facoltà di Musicologia di Cremona), Musical instruments in the Duchy of Milan: The Viboldone’s "sala della musica", a painted catalogue of the Sforza age
Susan E. Thompson (Yale University Collection of Musical Instruments, New Haven), Hautboists in service to the crown and state as depicted in Dutch etchings and engravings, 1672-1702
Raoul Camus (Queensborough Community College, City University of New York), Military musicians in English and French prints
The Metropolitan Museum of Art Uris Auditorium   4:00-6:00   Symbolism and reality of musical instruments III Chair: Florence Gétreau
Herbert Heyde (The Metropolitan Museum of Art, New York), Festival instruments
Eleonora M. Beck (Lewis and Clark College, Portland), Justice and music in Giotto's Scrovegni Chapel frescoes
Donatella Melini (Cinisello Balsamo/Milano), Music iconography and museum: Courses and pedagogical principles at the Borgogna Museum in Vercelli (Italy) on Winternitz’s example
Stewart Pollens (The Metropolitan Museum of Art), The Golden Harpsichord of Michele Todini: Evolving perspectives
The Metropolitan Museum of Art  6:30-8:00 AN EVENING OF VICTORIAN PARLOUR MUSIC The New York Victorian Consort  Julia Grella, mezzo-soprano Allan Atlas, English concertina Francesco Izzo & David Cannata, piano

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