Description
Book SynopsisThis volume brings together prominent scholars, artists, composers, and directors to present the latest interdisciplinary ideas and projects in the fields of art history, musicology and multi-media practice. Organized around ways of perceiving, experiencing and creating, the book outlines the state of the field through cutting-edge research case studies. For example, how does art-music practice / thinking communicate activist activities? How do socio-economic and environmental problems affect access to heritage? How do contemporary practitioners interpret past works and what global concerns stimulate new works? In each instance, examples of cross or inter-media works are not thought of in isolation but in a global historical context that shows our cultural existence to be complex, conflicted and entwined. For the first time cross-disciplinary collaborations in ethnomusicology-anthropology, ecomusicology-ecoart-ecomuseology and digital humanities for art history, musicology and practice
Trade ReviewThis wonderfully diverse and stimulating collection of interdisciplinary essays demonstrates beautifully how contemporary humanities needs more complex polyphony. Launched predominantly from consideration of music and art interrelations, a new turn in humanities scholarship is being undertaken here by both established and emerging researchers. Drawing on geography, ecology, museology, ethics and anti-colonial approaches (among many others), the relevance of this collection to all of us working in the humanities can hardly be overstated. * Simon Shaw-Miller, Emeritus Chair of Art History, University of Bristol, UK, and author of Improvision: Orphic Art in the Age of Jazz (2022) *
The editors of this exciting volume have worked a miraculous transformation on the nascent historiography of the autonomous and conjoined arts of music and visual cultures. Drawing together contributions from the notable, the new and a diversity of intersectional scholarly views, musical and visual landscapes emerge as unbounded spaces of performance and provocation. Liveness inhabits every carefully curated section, revealing a poetic of aesthetics and activism, always future-facing and deserving of immediate attention. * Diane V. Silverthorne, art historian, Vienna 1900 scholar and editor of Music, Art and Performance from Liszt to Riot Grrrl (Bloomsbury, 2018) *
This latest addition to the cross-disciplinary field of art and music studies breaks new ground in its multi-faceted range of approaches and methodologies, diversity of voices and
relevance. Essays by scholars and practitioners, case studies and interviews engage with current issues including climate change, queer studies, race relations and museum practice that invite new disciplines into the discourse. * Dr. Corrinne Chong, Assistant Curator, The Barnes Foundation *
The broad topics of this interdisciplinary volume aim to break down disciplinary and conceptual silos. By reconciling perspectives of the ear and the eye with other senses, scholars and practitioners put human creative endeavors in environmental, philosophical, sensorial and social contexts. These varied forms of scholarly and social activism, artivism and increasing access for diverse publics all lead to an agenda for change: both for individuals, artistically and conceptually, and for the myriad collective ways that humans dwell on the planet. * Aaron S. Allen, Director, Environment & Sustainability Program and Associate Professor of Musicology, University of North Carolina, Greensboro, USA, and co-editor of Sounds, Ecologies, Musics (2023) *
Table of ContentsList of Illustrations Contributors Introduction
Charlotte de Mille, The Courtauld Institute, UK, and Sarah Mahler Kraaz, Ripon College, USA Section One: Ways of Perceiving Section Introduction
Charlotte de Mille, The Courtauld Institute, UK 1. Art, music and theology in the Lutheran church
Margit Thøfner, Open University, UK 2. 'When silence speaks’: Sibelius, Music, Landscape
Daniel Grimley, University of Oxford, UK 3. Patience between the Arts(From a Mountain of Monumental Waste)
Lydia Goehr, Columbia University, USA, and Daniel Herwitz, University of Michigan, USA Section Two: Activism Section Introduction
Sarah Mahler Kraaz, Ripon College, USA 4. Madame Campan’s Portraits or, Self-portrait of a feminist musicologist
Rebecca Dowd Geoffroy-Schwinden, University of North Texas, USA 5. Racist and Ethnic Stereotypes in the Arts
Travis Nygard, Ripon College, USA 6. Feminism
Ann-Marie Hanlon, University of Galway, Ireland 7. Queerness in American Music Education: A Panoptic View
Josh Palkki, Arizona State University, USA Section Three: Access: Socio-Economic / Environment and Sustainability Section Introduction
Charlotte de Mille, The Courtauld Institute, UK 8. Whose museum? Applications in interdisciplinary thinking
Mark O’Neill, Glasgow University, UK 9. Access and Engagement: Classical music in the pandemic and beyond
Sarah Mahler Kraaz, Ripon College, USA 10. Toward Social Sustainability: Ethics and Community Engagement in Heritage Management
Annalisa Bolin, Linnaeus University, Sweden, and David Nkusi, Rwanda Cultural Heritage Academy 11. Safeguarding the intangible: communities, cultures and ecomuseum practices
Peter Davis, Newcastle University, UK 12. Ecotones and Climate Change in Contemporary Eco Art
Mark Cheetham, University of Toronto, Canada 13. Western Art Music and the Aestheticization of Climate Change: The Case of John Luther Adams’s
Become Ocean Tyler Kinnear, Independent Scholar, USA Section Four: Intersecting Cultures Section Introduction:
Juliana M. Pistorius, University College London, UK 14. Globalisation: Voluspa Jarpa’s
Altered Views and
The Hegemonic Museum Mark Rectanus, Iowa State University, USA 15. Cultural Sound Mapping in Bern: Sound-Based Ethnomusicological Research in the 21st Century
Britta Sweers, University of Bern, Switzerland 16. Unconventionally confrontational: Radicalized Asian affects, diasporic aesthetics, and the revival of Cambodian (American) rock music
Runchao Liu, University of Denver, USA 17. Anti-Colonial Activism and the Canadian Opera Company, 2017-2022
Rena Roussin, University of Toronto, Canada 18. Musical Instruments and “Migration”: A Reinvestigation of the Lutes in the Shosoin Collection
Ingrid M. Furniss, Lafayette College, USA Section Five: Intersecting Practice Section Introduction
Sarah Mahler Kraaz, Ripon College, USA 19. Landscape/Music
James Weeks, University of Durham, UK 20. Colour, Music and Synaesthesia
Deborah Pritchard, composer and University of Oxford, UK 21. William Kentridge,
Provisionality in process Interview by Sarah Mahler Kraaz, Ripon College, USA 22. Peter Sellars,
St. Matthew Passion, opera Interview by Sarah Mahler Kraaz, Ripon College, USA 23. Hooligan Art Community in Conversation with Dr Charlotte De Mille, The Courtauld Institute of Art, November 2022
Charlotte de Mille, The Courtauld Institute of Art, UK 24. Curating Glyndebourne
Nerissa Taysom, Glyndebourne Festival Opera, East Sussex, UK 25. Curating Music at the Courtauld
Charlotte de Mille, The Courtauld Institute of Art, UK Appendix 1: Digital Resources Michelle Urberg, musicologist and librarian Index
