Journal article

Publication year: 2017

Pages: 273-293

Journal: Mittelalter

Volume number: 22

Issue number: 2

DOI Link: https://doi.org/10.1515/mial-2017-0017

Publisher: Heidelberg University Publishing (heiUP)

Abstract: 

During the Late Antiquity and the Early Middle Ages, different
strategies of visualizing music were adopted. In this article the
history and the development of music-related diagrams is put into the
larger context of a cultural history of visualization. The philosophical
discussion on notational iconicity and diagrammatology, known as
‘Schriftbildlichkeit’, supplies a theoretical background for the
description of the music diagrams offered here. The basic question is
how visuality and musical graphic (diagrams and notation) interact
focusing on a specific visual logic related to musical issues. After a
short introduction to Sybille Krämer‘s
concept of diagram and after working out some main characteristic of
medieval diagrams, a selection of music related diagrams is depicted.
The sources presented range from ancient Greek and Latin descriptions of
musical diagrams (Aristoxenus of Tarentum, Phaenias of Eresus, Bakchios
and Vitruvius) to the wing diagrams of Aristides Quintilianus and
Martianus Capella, the structural graphics by Boethius and concludes
with the notational diagrams in the Carolingian music treatises (Musica
and Scolica Enchiriadis).

Harvard Citation style: Nanni, M. (2017) Musikalische Diagramme zwischen Spätantike und Karolingerzeit, Mittelalter, 22(2), pp. 273-293. https://doi.org/10.1515/mial-2017-0017

APA Citation style: Nanni, M. (2017). Musikalische Diagramme zwischen Spätantike und Karolingerzeit. Mittelalter. 22(2), 273-293. https://doi.org/10.1515/mial-2017-0017