The interest that individual artists and composers have taken in each others skills and creations over the centuries has grown from a negligible amount of interest in the nineteenth century to a vast amount by the end of the twentieth century. This volume explores the history of this phenomenon of mutual influence, beginning in Chapter 1 with how music has inspired artists, and continuing, in Chapter 2, with how composers in turn have been inspired by the visual arts. Chapter 3 chronicles the so-called Doppelbegabungen or twin talents: artists who also have been active as musicians and composers who have extended their creative talents to the visual arts. Chapter 4 discusses portraits of musicians and composers over the centuries. 

About the Author

George C. Schuetze is Professor Emeritus of Musicology at American University in Washington, D.C.  A native of Monroe, Wisconsin, he was educated at the University of Wisconsin in Madison, the University of Munich, and New York University, where he earned the Ph.D. degree in Musicology.  His graduate work was interrupted by a tour of duty in Korea with the Eighth Army Band, where he was a member of the French horn section.  Among other writings, Professor Schuetze is the author of the complete works, with commentary, of the fifteenth-century composer Guillaume Faugues (Institute of Mediaeval Music, vol. 2) and a four-volume edition of a corpus of Italian madrigals, Settings of  "Ardo si" and Related Texts (Recent Researches in the Music of Renaisance, A-R Editions, 1990).  His research has been supported by Fulbright and DAAD fellowships.  The current study of interrelations between art and music had its inception in a graduate-level course he developed at American University, and which he also taught during a sabbatical year spent at the University of Marburg.  George Schuetze lives with his wife Carole Regan in Laguna Niguel, California.

DSMB 86 / 291p / 0-89990-130-1 / Paperback / 2005 / $46.00

TABLE OF CONTENTS

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REVIEW 

“The introductory essay helpfully provides a concise outline of the development of the field of music iconography and its contribution to scholarship…The text is primarily a catalog of examples presented in prose form…There is depth of coverage here, since many of the artists and composers mentioned are far from well known…This publication will no doubt be much appreciated by those who have wished for such thorough documentation of these topics in an English-language source.”

Fontes Artis Musicae