Music in Art was established in 1998 (replacing RIdIM/RCMI Newsletter), and it is now the major multidisciplinary journal devoted to the study and interpretation of visual sources concerned with music of the West and the East from antiquity to the present. It fosters communication between historians of art, dance, and theater with musicologists and ethnomusicologists engaged in the research social and cultural context of music-making and dance, the history of performance practice, the popular music studies, the representations of musical instruments and their decorations, and the interactions between music and visual arts in the 20th and 21st centuries.

Founded by Barry S. Brook in 1972, the Research Center for Music Iconography (RCMI) at the Graduate Center, City University of New York, provides scholarly context for the research into musical subject matters represented in artworks and the relationships between music and the visual arts. Activities of the Center include collecting and studying images relevant for music history and organology; cataloguing artworks concerning representations of music making; and sponsoring exhibitions and conferences. The Center maintains a collection of about 20,000 music-related images, as well as a reference library. Since 1998 the Center has published the annual Music in Art: International Journal for Music Iconography.

This item is part of a JSTOR Collection.
For terms and use, please refer to our Terms and Conditions
Music in Art © 2009 Research Center for Music Iconography, The Graduate Center, City University of New York
Request Permissions