The title of this new series Studies in Music, Dance & Theatre Iconography not only seeks to unite three artistic terms under the umbrella of an iconographic perspective but also links three concepts of human expression. These concepts articulate human consciousness and culture as much as they simultaneously and actively participate in the formation of the same. In contrast to their terminological determinations that presume the existence of a supposedly well-defined idea of what music, dance and theatre may be, studying the concepts reveals a diversity of variable depth depending on the individual case. Depending on their individual cultural contexts, all forms of visual and performance art are not only differently defined and shaped but they also perform discriminative functions. When approached in a scholarly fashion they are not self-explanatory but rather open to a high degree of interpretation and thus not only invite (but rather force) analysis and proposals as to meaning (in its post-structuralist sense). With respect to such an analytical and interpretative approach visual material plays a highly relevant role. In addition to written sources and audio and video recordings, visual sources provide not only additional but often also different, useful and significant information which in some cases may contradict the written word.
State-of-the-art research in iconography does not limit meaning to the content of the visual source but extends the perspective in three significant directions.
Against the explored background the present new series promotes an understanding of research in music, dance and theatre iconography in the broadest possible sense regarding topical and methodological issues. It is open to monographs, anthologies and conference proceedings, and it holds to the conviction that understanding music, dance and theatre can only benefit from diverse methodological approaches, continuous examination of standpoints and critical thinking.