Razgovori, koncerti, žene i slike : prikazivanje muzike u rano barokno doba

Abstract

Izučavanje slikanja muzike u prvim decenijama 17. veka u ovom radu oslonjeno je na barokni konverzacioni diskurs. Muzika i slika, kao i njihovo sadejstvo, bile su česte teme dijaloga i drugih literarnih formi posvećenih veštini konverzacije. Ova literatura objašnjava značaj muzike i razloge promene njene vizualizacije. Umetnici su usresređeni na prikazivanje samog procesa muziciranja kao svojevrsnog dijaloga između protagonista muzike/slike i slušaoca/posmatrača. Tako recepijent postaje aktivni participijent i učestvuje u kreiranju i krtetanju oblika, boja i tonova. Ovaj proces, kao i rastući ugled žena u muzičkoj profesiji, biće objašnjen posebno na primeru slike Koncert Nikole Turnije u Narodnom muzeju u Beogradu.

This text is dedicated to the visualization of music during the first decades of 17th century. The study of the convergence of image and music relies on baroque conversational discourse. Music and images, as well as their synergy, were common themes of dialogue and other literary form dedicated to the skill of conversation. This type of literature explains the importance of music, explains the change in performance, and then its presentation. Artists focused on showing the process of making music as a kind of dialogue between the protagonists of the music / pictures and the listener / viewer. Thus, the recipient becomes an active participant who takes part in the creation and movements of shapes, colors and tones. This process is explained by the example of a painting from the National Museum in Belgrade, the Concert by Nicolas Tournier (c. 1626). Although created during the dominance of tavern music scene, it presents delicate singing and intent listening, as recommended in dialogues, like Giustiniani’s. The highly prominent role of the woman singer and the guitar player indicates not only the traditional association of music, love and women, but also the growing importance of women in the music profession, and respect for their power of articulation, performativity and emotional expressiveness. The Concert from the National Museum in Belgrade is one of the last examples of a true encounter of images and music in the time to come. Although music scenes were largely represented in European painting of the 17th century, music was mostly served to show something else, not herself. It was not until the early 18th century that painted music would again become visible and audible at the same time.