Works by Emanuel Winternitz

 

Books
  • Musical Autographs from Monteverdi to Hindemith, 2 vols. (Princeton/New Jersey 1955, Princeton University Press; reprint New York 1965, Dover Publications Inc.).
  • Keyboard Instruments in the Metropolitan Museum of Art (New York 1961, Metropolitan Museum).
  • Die schönsten Musikinstrumente des Abendlandes (München 1966, Keysersche Verlagsbuchhandlung).
  • Musical Instruments of the Western World (London 1967, Thames & Hudson, and New York 1967, McGraw-Hill).
  • Gaudenzio Ferrari, His School, and the Early History of the Violin (Varallo 1967, Società per la Conservazione delle Opere d'Arte in Valesia).
  • Instruments de musique du monde occidental, trans. by Yves Hucher and Jacqueline Morini (Paris 1972, Arthaud).
  • Gakki no rekishi, trans. by Tatsuo Minagawa and Tadashi Isoyama (Tokyo 1977, Parco).
  • Musical Instruments and Their Symbolism in Western Art (New York, W. W. Norton and Co., London, Faber and Faber Ltd., 1967; 2nd revised edition New Haven and London 1979, Yale University Press).
  • Leonardo da Vinci as a Musician (New Haven and London 1982, Yale University Press).

Articles
  • On the Sense of Time in Teaching History, The Harvard Educational Review (March 1940), 174-186.
  • Letter to the Editor on the relationship between Music and Art, College Art Journal (March 1942), 104-106.
  • Overspecialization and Art Education, Association of American Colleges Bulletin 28/2 (1942), 1-7.
  • Quattrocento Science in the Gubbio Study, Metropolitan Museum of Art Bulletin 1/2 (October 1942), 104-116.
  • Bagpipes and Hurdy-Gurdies in their Social Setting, Metropolitan Museum of Art Bulletin 2/1 (Summer 1943), 56-83.
  • A Lira da Braccio in Giovanni Bellini's "The Feast of the Gods", Art Bulletin 28/2 (1946), 114-115.
  • Music for the Eye, Art News 45 (June 1946), 24-27.
  • Additions to the Collection of Musical Instruments, Metropolitan Museum of Art Bulletin (June 1946), 254-259.
  • Notes on Archlutes, Guitar Review 9 (1949), 1-7.
  • Archeologia Musicale del Rinascimento nel Parnaso di Raffaello, Rendiconti della Pontificia Accademia Romana di Archeologia, vol. 27 (1952-1954), 359-388.
  • The Evolution of the Baroque Orchestra, Metropolitan Museum of Art Bulletin 12/9 (May 1954), 258-275.
  • The Golden Harpsichord and Todini's Galleria Armonica, Metropolitan Museum of Art Bulletin 14/5 (February 1956), 149-156.
  • Instruments de musique êtranges chez Filippino Lippi, Piero di Cosimo et Lorenzo Costa, Les Fêtes de la Renaissance, vol. 1 (Paris 1956, Editions du Centre National de la Recherche Scientifique), 379-395.
  • Alcune rappresentazioni di antichi strumenti italiani a tastiera, Collectanea historiae musicae 2 (Firenze 1956, Leo S. Olschki), 46S-473.
  • Mozarts Raumgefühl, Bericht über den Internationalen Musikwissenschaftlichen Kongress Wien, Mozartjahr 1956 (Graz and Köln 1958, Hermann Böhlaus Nachf.), 736-742.
  • The Inspired Musician; a Sixteenth-Century Musical Pastiche, The Burlington Magazine 100 (February 1958), 48-53.
  • Bagpipes for the Lord, Metropolitan Museum of Art Bulletin 16/10 June 1958), 276-286.
  • Gnagflow Trazom: An Essay on Mozart’s Script, Pastimes, and Nonsense Letters, Journal of the American Musicological Society 11 (1958), 200-216.
  • Quattrocento-Intarsien als Quellen der lnstrumentengeschichte, Bericht über den siebenten Internationalen Musikwissenschaftlichen Kongress Köln 1958 (Kassel etc. 1959, Bärenreiter), 300-302.
  • The Curse of Pallas Athena; Notes on a "Contest between Apollo and Marsyas" in the Kress Collection, Studies in the History of Art, Dedicated to William E. Suida (London 1959, Phaidon Press), 186-195.
  • Lira da Braccio, Die Musik in Geschichte und Gegenwart, vol. 8 (Kassel etc. 1960, Bärenreiter), cols. 935-954.
  • The Survival of the Kithara and the Evolution of the English Cittern: A Study in Morphology, Journal of the Warburg and Courtauld Institutes 24 (London 1961), 222-229.
  • The Visual Arts as a Source for the Historian of Music, International Musicological Society, Report of the Eighth Congress New York 1961, vol. 1 (Kassel etc. 1961, Bärenreiter), 109-120.
  • Orpheus als Musikallegorie in Renaissance und Frühbarock, in article "Orpheus", Die Musik in Geschichte und Gegenwart, vol. 10 (Kassel etc. 1962, Bärenreiter), cols. 410-415.
  • Musicali Strumenti, Enciclopedia Universale dell'Arte, vol. 9 (Venezia-Roma 1963, lstituto per la collaborazione culturale), 770-793.
  • On Angel Concerts in the 15th Century: A Critical Approach to Realism and Symbolism in Sacred Painting, The Musical Quarterly 49 (1963), 450-463.
  • Leonardo's Invention of the Viola Organista, Raccolta Vinciana 20 (1964), 1-46.
  • Melodic, Chordal and Other Drums Invented by Leonardo da Vinci, Raccolta Vinciana 20 (1964), 47-68.
  • Keyboards for Wind Instruments Invented by Leonardo da Vinci, Raccolta Vinciana 20 (1964), 69-82.
  • The School of Gaudenzio Ferrari and the Early History of the Violin, Gustave Reese and Rose Brandel (eds.), The Commonwealth of Music, in honor of Curt Sachs (New York 1965, The Free Press), 182-193.
  • Muses and Music in a Burial Chapel: An Interpretation of Filippino Lippi’s Window Wall in the Cappella Strozzi, Mitteilungen des Kunsthistorischen Institutes in Florenz 11 (1965), 263-286.
  • Musicians and Musical Instruments in "The Hours of Charles the Noble", The Bulletin of the Cleveland Museum of Art 52/3 (March 1965), 84-89.
  • Theorbe, Die Musik in Geschichte und Gegenwart, vol. 13 (Kassel etc. 1966, Bärenreiter), cols. 323-328.
  • Leonardo da Vinci, Die Musik in Geschichte und Gegenwart, vol. 13 (Kassel etc. 1966, Bärenreiter), cols. 1664-1667.
  • Italienische Bildzeugnisse der Violine im 16. Jahrhundert, in article "Violine" Die Musik in Geschichte und Gegenwart, vol. 13 (Kassel etc. 1966, Bärenreiter), cols. 1712-1713.
  • Anatomy the Teacher – On the Impact of Leonardo's Anatomical Research on His Musical and Other Machines, Proceedings of the American Philosophical Society 3 (August 1967), 234-247.
  • Orpheus before Opera, Opera News 32/15 (New York 1968), 8-13.
  • A Spinettina for the Duchess of Urbino, Metropolitan Museum Journal 1 (1968), 95-108.
  • Strange Musical Instruments in the Madrid Notebooks of Leonardo da Vinci, Metropolitan Museum Journal 2 (1969), 115-126.
  • Rembrandt's "Christ Presented to the People" - 1665; A Meditation on Justice and Collective Guilt, Oud Holland, Rembrandt Tricentennial Issue 84 (1969), 177-198.
  • A Hommage of Piccini to Gluck, H. C. Robbins Landon (ed.), Studies in Eighteenth Century Music, A Tribute to Karl Geiringer on his Seventieth Birthday (London 1970, Allen & Unwin), 397-400.
  • The Crosby Brown Collection of Musical Instruments - Its Origin and Development, Metropolitan Museum Journal 3 (1970), 337-356.
  • Über Musikinstrumentensammlungen des Frühbarock, Studia musico-museologica (Nürnberg, Germanisches Nationalmuseum, and Stockholm, Svensk Musikhistorisk Arkiv, 1970), 6-18.
  • The Role of Music in Leonardo’s Paragone, Maurice Natanson (ed.), Phenomenology and Social Reality, Essays in Memory of Alfred Schütz (Den Haag 1971, Martinus Nijhoff), 270--296.
  • Music, Physician of the Soul, Medicine, Mind and Music (= CBS Records Legacy Collection, New York 1971).
  • Pleasing Eye and Ear Alike, Metropolitan Museum of Art Bulletin 30/2 (October/ November 1971), 66-73.
  • Iconology of Music - Potentials and Pitfalls, Barry S. Brook, Edward Downes, Sherman J. van Solkema (eds.), Perspectives in Musicology (New York 1972, W. W. Norton & Co.), 80-90.
  • La musica nel "Paragone" di Leonardo da Vinci, Studi musicali 1 (1972), 79-99.
  • The Shape of Music: Excerpts from Articles by Emanuel Winternitz, Lithopinion 28 (Winter 1972), 24-40.
  • Leonardo and Music, The Unknown Leonardo (New York 1974, McGraw-Hill), 110-135.
  • Secular Musical Practice in Sacred Arts, The Secular Spirit: Life and Art at the End of the Middle Ages (New York 1975, The Metropolitan Museum of Art and E. P. Dutton & Co., Inc.).
  • Secular Musical Practice in Sacred Art, Early Music 3/3 July 1975), 220-226.
  • Engelskonzert, Die Musik in Geschichte und Gegenwart, vol. 16 (Kassel etc. 1979, Bärenreiter), cols. 89-96.

Reviews
  • Antonio Banfi, La Fenomenologia e il compito del pensiero contemporaneo (Revue Internationale de Philosophie 1, 1939), Philosophy and Phenomenological Research (June 1941), 510-512.
  • Henri Focillon, The Life of Forms in Art (New Haven 1942, Yale University Press), College Art Journal 2/3 (1943), 88-90.
  • British Musical Instruments, An Exhibit in London, Notes 9 (1952), 395-398.
  • Otto E. Albrecht, A Census of Autograph Music Manuscripts of European Composers in American Libraries (Philadelphia 1953, University of Pennsylvania Press), Journal of the American Musicological Society 6 (1953), 169-173.
  • Luigi Parigi, I disegni musicali del Gabinetto degli "Uffizi" (Firenze 1951, Olschki) - Luisa Marcucci, Mostra di strumenti musicali in disegni degli Uffizi (Firenze 1952, Olschki) - Marziano Bernardi and Andrea della Corte, Gli strumenti musicali nei dipinti della Galleria degli Uffizi (Torino 1952, Radio Italiana) - Catalogo della Mostra Corelliana (Roma 1954, Arti Grafiche Fratelli Palombi), The Musical Quarterly 40 (1954), 608-614.
  • Stig Walin, Die Schwedische Hummel (Stockholm 1952, Nordiska Museet), Journal of the American Musicological Society 8 (1955), 61-62.
  • Albert G. Hess, Italian Renaissance Paintings with Musical Subjects (New York 1955, Libra Press), Notes 12 (1955), 598-600.
  • Marin Mersenne, Harmonie Universelle: The Books on Instruments, trans. by Roger E. Chapman (Den Haag 1957, Martinus Nijhoff), The Musical Quarterly 44 (1958), 534-540.
  • Anthony Baines, Woodwind Instruments and their History (New York 1957, W. W. Norton and Co.), Journal of the American Musicological Society 12 (1959), 254-259.
  • Marc Pincherle, An Illustrated History of Music, trans. by Rollo Myers (New York 1960, Reynal and Co.), Notes 18 (1960), 48-50.
  • Philip Bate, The Oboe: An Outline of its History, Development and Construction (London 1956, Ernest Benn Ltd.), Journal of the American Musicological Society 14 (1961), 89-91.
  • F. Geoffrey Rendall, The Clarinet: Some Notes upon its History and Construction (London 1957, Ernest Benn Ltd.), Journal of the American Musicological Society 14 (1961), 91-92.
  • Günther Bandmann, Melancholie und Musik: Ikonographische Studien (Köln and Opladen 1960, Westdeutscher Verlag), The Burlington Magazine (April 1962), 166-167.
  • Vernon Gotwals, Joseph Haydn: 18th Century Gentleman and Genius, a translation with introduction and notes of the Biographische Notizen über Joseph Haydn, by G. A. Griesinger, and the Biographische Nachrichten von Joseph Haydn, by A. C. Dies, The Saturday Review (20 July 1963), 30-31.
  • Max Wegner, Griechenland (= Musikgeschichte in Bildern, vol. 2, fascicle 4; Leipzig 1963, VEB Deutscher Verlag für Musik), Journal of the American Musicological Society 19 (1966), 412-415.
  • François Lesure, Musik und Gesellschaft im Bild - Zeugnisse der Malerei aus sechs Jahrhunderten (Kassel 1966, Bärenreiter), Fontes Artis Musicae 15 (1968), 52-54.

Miscellanea
  • Program-note booklet accompanying the recording of J. S. Bach’s Brandenburg Concertos (conducted by Otto Klemperer (= Vox 618-623, 1947).
  • Program-note booklet accompanying the recording of G. F. Handel’s Twelve Concerti Grossi (= Columbia Masterworks M-MM-685, 1947).
  • Entries on musical instruments for the American College Dictionary (New York 1947, Random House, and later editions).
  • Introduction to the exhibition catalogue Musical Instruments of the Cincinnati Art Museum (1949, Cincinnati Art Museum).
  • The Early History of the Organ, in the program-note booklet accompanying the recording The Organ (= Columbia Masterworks DL 5288, September 1958).
  • Program-notes for the concerts organized by Emanuel Winternitz in the Metropolitan Museum of Art, New York (1943-1960).
  • Musical Instruments Through the Ages, The Golden Encyclopedia of Music (New York 1968, Golden Press), 25 pages.
  • Hindemith ludens, Neue Zürcher Zeitung (29 January 1969) 53.
  • Piccinni und Gluck, Neue Zürcher Zeitung (14 September 1969).
  • Images as Records for the History of Music, London Times Literary Supplement (21 June 1974), 658-660.
  • Leonardo the Musician, The Unesco Courier 27 (October 1974), 16-18 and 35.
  • Henry Allen Moe, a Personal Recollection, American Council for Learned Societies Newsletter 26/4- 27/1 (1975-1976), 24-26.
  • Leonardo da Vinci as a Musician, London Times Literary Supplement (1 April 1979), 411-412.

 

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