If you are interested in journals not sponsored or published by RIdIM, please follow this link.
RIdIM Newsletter
The RIdIM Newsletter was established in 2006 supported by the Institut national d’histoire de l’art (INHA) with the objective of providing a regular vehicle for communication about RIdIM’s activities. Each issue also includes a number of scholarly articles.
Imago Musicae
Imago Musicae, the international yearbook of musical iconography, was founded by RIdIM on the initiative of Barry S. Brook in 1984 and is currently published with Libreria Musicale Italiana.
Publications about RIdIM
RIdIM annual reports published in Fontes artis musicae, since vol. XIX (1972).
Barry S. Brook, “RIdIM: A new international venture in music iconography”, in: Notes XXVIII/4 (1972), 652-663.
Victor Ravizza, “Zu einem internationalen Repertorium der Musikikonographie”, in: Acta musicologica XLIV (1972), 101-108.
Barry S. Brook and Richard Leppert, “RCMI/CUNY: The Research Center for Musical Iconography of the City University of New York”, in: College music Symposium XIII (1973), 103-113.
Barry S. Brook and Jerzy Golos, “Research in musical iconography”, in: AMS newsletter IV/2 (1974).
Howard Mayer Brown, “An archive for iconographers”, in: Times literary supplement 3772 (1974), 660-661.
Howard Mayer Brown, “What is RIdIM?”, in: Early music II/1 (1974), 51-53.
Sylvette Milliot, “Le Centre d’iconographie musicale de la Recherche Scientifique a Paris”, in: Revue de musicologie LXIX/1 (1983), 85-98.
Ingebjorg Barth-Magnus, “RIdIM-projektet Musiken i det medeltida svenska samhället”, in: Svenskt musikhistoriskt arkiv bulletin 18 (1983), 16-23.
Terence Ford, List of Western instruments annotated from an iconographical point of view (New York: Research Center for Music Iconography, 1987).
Terence Ford, Thesaurus for Western Art, containing terms for a standardized means of describing artworks with musical depictions (New York: Research Center for Music Iconography, 1987).
Monika Holl, “Die Katalogisierung von musikikonographischen Inhalten in der bildenden Kunst nach dem EDV-Programm MIDAS des Deutschen Dokumentationszentrums für Kunstgeschichte an der Universität Marburg”, in: RIdIM/RCMI newsletter XVI/2 (1991), 18-28.
Carla Tessari, Elena Ferrari Barassi, et al., Strutturazione dei dati delle schede: Beni archeologici e storico-artistici – disegni, stampe, manoscritti e pubblicazioni a stampa (Cremona: Università degli studi di Pavia, Scuola di paleografia e filologia musicale, 1992).
Selima Mohammed, “RIdIM documentation: A proposal of change”, in: RIdIM/RCMI newsletter XIX/1 (1994), 32-36.
Florence Gétreau, “L’iconographie musicale : définition, constitution de corpus et outils d’exploitation“, A portée de notes. Musiques et mémoire, ARALD, FFCB, Bibliothèques municipales de Grenoble, 2004, 87-101.
Antonio Baldassarre, “The actual situation of RIdIM”, in: Musique, Images, Instruments. Revue française d’organologie et d’iconographie musicale 7 (2004), 223-225 (6 columns).
Florence Gétreau, “1936-2006 : Cataloguing Musical Iconography in France – A disciplinary perspective“, in: RIdIM Newsletter 2 (2007), 13-17.
Antonio Baldassarre, “Quo vadis music iconography? The Répertoire International d’Iconographie Musicale as a case study”, in: Fontes Artis Musicae 54/2 (2007), 440-452.
Florence Gétreau, “La catalogación de la iconografía musical en Francia (1936-2006): una perspectiva disciplinar“, in: Boletin DM, Asociación Española de Documentación Musical 11 (2007), 72-78.
Antonio Baldassarre, “Music Iconography: What is ist all about? Some remarks and considerations with a selected bibliography”, in: Ictus: Periódico do Programa de Pós-Graduação em Música da UFBA 9/2 (2008), 55-95.
Publications sponsored by RIdIM
Since its establishment in 1971 RIdIM and/or national RIdIM centres and working groups have supported, sponsored and/or financed the following publications:
European musical instruments in prints and drawings. Collection of the music department of the Haags Gemeentemuseum (Zug: Inter Documentation Company, 1972), 28 microfiche with 600 items.
Portraits of composers and musicians from the collection of the music department of the Gemeentemuseum, The Hague (Zug: Inter Documentation Company, 1975), 33 microfiches with 830 items.
Robert H. Cohen, Sylvie L’Écuyer and Jacques Léveillé, Les Gravures musicales dans L’Illustration (1843-1899). 3 vols., preface by Barry S. Brook (Québec and New York: Presses de l’Université de Laval and Pendragon Press, 1983).
Howard Mayer Brown, A corpus of Tecento pictures with musical subject matter. I/1: “Pictures signed by or attributed to particular artists or their followers: Altichiero de Zevero to Duccio di Buoninsegna”, in: Imago musicae I (1984), 189-243; I/2: “Pictures signed by or attributed to particular artists or their followers: Deodatus to Meo da Siena”, in: Imago musicae II (1985), 179-281; I/3: “Pictures signed by or attributed to particular artists or their followers: Nanni di Jacopo to Zacchi”, in: Imago musicae III (1986), 103-187; II/1: “Pictures without attribution, addenda to installments 1-3, and index of places”, in: Imago musicae V (1988), 167-243.
Birgit Heise, “Darstellungen von Musik in und an sächsischen Kirchen von 1230 bis 1600”, in: Imago musicae IX-XII (1992-95), 234-285.
Ingebørg Barth Magnus and Birgit Kjellström, Uppland fram till 1625 = The region of Uppland up to 1625 (Stockholm: Almqvist & Wiksell 1993).
Inventaire des tableaux à sujets musicaux du musée du Louvre (sponsored by CRNS)
Vol. I : Nicole Lallement et Brigitte Devaux, « L’école italienne des XVIIème et XVIIIème siècles », in : Musique, images, instruments: Revue française d’organologie et d’iconographie musicale II (1996), 235-259.
Vol. II : Nicole Lallement, « La peinture française des XVIIème et XVIIIème siècles », in : Musique, images, instruments: Revue française d’organologie et d’iconographie musicale III (1997), 186-219.
Vol. III : Nicole Lallement, « La peinture française des XVIIe et XVIIIe siècles (tableaux mis en dépôt) », in : Musique, images, instruments: Revue française d’organologie et d’iconographie musicale IV (1999), 161-189.
Vol. IV : Nicoletta Guidobaldi, « La peinture de la Renaissance », in : Musique, images, instruments: Revue française d’organologie et d’iconographie musicale V (2003), 198-231.
Vol. V : Nicole Lallement, « Peintures hollandaises et flamandes des XVIIe et XVIIIe siècles », Musique, images, instruments: Revue française d’organologie et d’iconographie musicale VI (2004), 1211-1244.
Inventaire des tableaux à sujets musicaux du musée national du château de Versailles (sponsored by CRNS)
Vol. I: Nicole Lallement, Brigitte Devaux, « peintures du XVIIe siècle », Musique-Images-Instruments: Revue française d’organologie et d’iconographie musicale, 9 (2007), 228–262.
Vol. 2: Nicole Lallement, Brigitte Devaux, « peintures du XVIIIe siècle », Musique-Images-Instruments: Revue française d’organologie et d’iconographie musicale, 10 (2008), 200-225.
Inventaire des tableaux à sujets musicaux du musée d’Orsay (sponsored by CRNS)
Nicole Lallement, « Inventaire des tableaux à sujets musicaux du musée d’Orsay », Musique-Images-Instruments, 12 (2010), 222-251.
Iconografia musicale in Italia, sponsored by Società Italiana di Musicologia
Vol. 1: Emanuela Lagnier, Joseph-Gabriel Rivolin ed Elena Ferrari-Barassi, Iconografia musicale in Valle d’Aosta (Roma: Torre d’Orfeo 1988).
Vol. 2: Mariagrazia Carlone (introduzione di Elena Ferrari-Barassi), Iconografia musicale nell’arte biellese, vercellese e valsesiana: Un catalogo ragionato (Roma: Torre d’Orfeo 1995).
RIdIM/RCMI inventories of music iconography, published by the Research Center for Music Iconography, New York
Vol. 1: Earl Terence Ford, Andrew Green, and Emilio Ros-Fábregas, National Gallery of Art, Washington (New York: Research Center for Music Iconography, 1986).
Vol. 2: Earl Terence Ford, and Margareth Boyer Owens, The Art Institute of Chicago (New York: Research Center for Music Iconography, 1987).
Vol. 3: Earl Terence Ford, Andrew Green, Elizabeth Wright, and Emilio Ros-Fábregas, The Pierpont Morgan Library: Medieval and Renaissance manuscripts (New York: Research Center for Music Iconography, 1988).
Vol. 7: Elliott S. Hurwitt, and Earl Terence Ford, The Frick Collection, New York (New York: Research Center for Music Iconography, 1987).
Vol. 8: Ross W. Duffin, and Earl Terence Ford, The Cleveland Museum of Art (New York: Research Center for Music Iconography, 1991).