Introduction

Antonio Baldassarre and Arabella Teniswood-Harvey
Instead of a Preface: Miscellanea on Belonging, Detachment and the
Representation of Musical Identities in Visual Culture
 

Theory and Methodology

Antonio Baldassarre
Navigating the Maze: Challenges to Current Music Iconography Research

Maria Alice Volpe
Maxixe’s Kinemic Movements: The Iconography of Indiscrete Truths

Ian Parsons
Seeing the Unseeable Light: How Stockhausen’s Opera Cycle LICHT
Expresses His Belonging and Detachment as Composer and Man
 

Courtly and Ecclesiastical Life
 

Dorothea Baumann
Plucked or Bowed? Two Early String Instruments in the Towers of Saint
Sophia in Kiev, Their Characteristics and Cultural Identity

Angeliki Liveri
Byzantine and Western Medieval Royal Dances: Dancing for the King –
The King’s Dancing

Jordi Ballester
Music and Musicians in the Courtly Banquets Depicted in Late Medieval
and Renaissance Catalano-Aragonese paintings
 

Notation, Intertextuality and Interarts Dialogue

Denis Collins
Crosses, circles and shared identities in riddle canons by Elway Bevin
and Giovanni Maria Nanino

Jason Stoessel
Pier Francesco Valentini and Musical Canons in the Visual Culture
of Early Modern Rome

Jonathan Paget
La guitaromanie (1829) by Charles de Marescot (1790–1842): Unpacking
the Imagery and Music of an Iconic Nineteenth-Century Guitar Book

Christine Fischer
Between Author and Muse: Pauline Viardot-García as Sapho
(Paris, Le Peletier 1851)

Sheridan Palmer and David Harley
Split Spectrum: Visual Artists and the Prism of Music

Jocelyn Wolfe and Bruce Wolfe
Music in Architecture: Lest We Forget

Building cultural identity

Sylvain Perrot
The Musical Identity of Ancient Greek City-States according to Coinage
(Sixth–First c. BCE)

Alessandra Palidda
New Celebrations for a New State: Visual and Sound Aspects of the
pubbliche feste in Republican Milan (1796–1802)

Brian Christopher Thompson and Sophie M. Thompson
Music and Musicians in the World of William Notman

Rachel Coombes
Maurice Denis’s The History of Music: Allegorising Cultural Tradition
in Early Twentieth-Century France

Camilo Vaughan
The Snake and the Deer: Indigenist Elements in Art Music and Visual Arts
through the República Liberal Period (1930–1946) in Colombia

Arabella Teniswood-Harvey
Centred on the Periphery: Visual Art, Cultural Nationalism and the
Development of an Australian Musical Avant-Garde in 1960s Hobart

Christopher Price
Recruiting Tradition: Cathedral Choirs and the Heritage Industry

Marita Fornaro Bordolli
Idealisation and Caricature in the Representation of Popular Music
and Dance in Twentieth- and Twenty-First-Century Uruguay

Issues of Colonialism

Johanna Selleck
From Sterling to Currency: Representing Identity in Colonial Australia
through Music Reviews and Cartoons

Maria Fernandes
Politics and Musical Caricature: The African Colonial Issue in A Paródia

Johnny Milner
Hearing First Nations Australia (on Screen)


Subversion and Struggle

Suzanne Wijsman
Musicians and Wild Men: Signs of Identity in a Fifteenth-Century Hebrew
Manuscript

Joseph Nelson
“Mad Tom o’ Bedlam and the Medieval Wild Man”

Maurice B. Wheeler
From Cotton Field to Concert Stage: The Iconography of Late-Nineteenthand
Early-Twentieth-Century African American Concert Artists’ Journey
Toward Parity

Wm. Keith Heimann
“The True, Unutterable Great Sin …”: Heteronormative Discourse in The Etude
Music Magazine

Benjamin Hillier
Austral Aliens – Australian Extreme Metal Paratexts and Australian Identity

Biographies