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Music and Visual Culture

The essays in this volume explore the relationship between music and art in the Italian Renaissance across the long sixteenth century, considering an era when music-making was both a subject of Italian painting and a central metaphor in treatises on the arts.

Music and Visual Culture in Renaissance
Italy

Music and Visual Culture in Renaissance Italy

IntroductionChriscinda Henry and Tim ShephardPART IKnowledge and Practice Across Disciplines1. "A Body Composed of Many Parts": The Concept of Harmony in Leonardo da Vinci's ParagoneDavid E. Cohen 2. Aporia and the Harmonious SubjectTim Shephard3. Singing Sibyls: Music, Inspiration, Labour, and Art on the Sistine Chapel CeilingBarnaby Nygren4. Musical Self-Portraits by Garofalo, Anguissola, and FontanaSamantha Chang5. Dangerous Music at the Accademia di San Luca and Federico Zuccaro's "Art" of CensorshipLeslie Korrick6. Il Figino and the ParagoneAntonio Cascelli7. The Tuning Figure in Early Modern Art 1350-1700Francois Quiviger8. The Flow of Time and Feelings in Evaristo Baschenis' Still Lifes with InstrumentsGioia FilocamoPART IICultures of Everyday Life9. The Iconography of Dancing on Renaissance Wedding ChestsJasmine Marie Chiu10. Visible and Invisible Musical Paths in Federico da Montefeltro's Gubbio StudioloNicoletta Guidobadi11. The Convergence of Sacred and Secular in Vittore Carpaccio's British Museum ConcertChriscinda Henry12. The Artist and Artistry of the "Capirola Lutebook"Victor Coelho13. No Country for Old Men? Aging and Men's Musicianship in Italian Renaissance ArtSanna Raninen14. Music, the Visual and the Material in an Italian Renaissance BasinFlora Dennis15. Fantastic Finials: Carved Scrolls and Headstocks of Renaissance Stringed InstrumentsEmanuela Vai16. The "Author's Portrait" in Early Modern Italian Music BooksMassimo Privitera

Lutes and Marginality in Pre-Modern China traces the complex history of lutes as they moved from the far west into China, and how these instruments became linked to various forms of social, cultural, ethnic, and religious marginality within and at China's borders.

Lutes and Marginality in Pre-Modern China traces the complex history of lutes as they moved from the far west into China, and how these instruments became linked to various forms of social, cultural, ethnic, and religious marginality within and at China’s borders.

Art History, Archaeology, and Music Iconography

Lutes and Marginality in Pre-Modern China

This book brings a new perspective to secular music sources from the Middle Ages and early modernity by viewing them as media communication tools, whose particular features shape the meaning of their contents. The chapters offer innovative insights into historical relationship between music and its presentation in a wide variety of media.

This book brings a new perspective to secular music sources from the Middle Ages and early modernity by viewing them as media communication tools, whose particular features shape the meaning of their contents. The chapters offer innovative insights into historical relationship between music and its presentation in a wide variety of media.

The Media of Secular Music in the Medieval and Early Modern Period (1100–1650)

Exploring how music is used to portray the past in a variety of media, this book probes the relationship between history and fantasy in the imagination of the musical past.

Exploring how music is used to portray the past in a variety of media, this book probes the relationship between history and fantasy in the imagination of the musical past.

History as Fantasy in Music, Sound, Image, and Media

Featuring multidisciplinary research by an international team of leading scholars, this volume addresses the contested aspects of arabesque while exploring its penchant for crossing artistic and cultural boundaries to create new forms.

Featuring multidisciplinary research by an international team of leading scholars, this volume addresses the contested aspects of arabesque while exploring its penchant for crossing artistic and cultural boundaries to create new forms.

Across Music and the Arts, from Faust to Shahrazad

Arabesque without End

Revealing the connections between the veneration of national landscape and eighteenth-century English vocal music, this study restores English music's connections with the picturesque. This book explores this gap, and shows how secular song, the glee, and national theatre music expressed a uniquely English engagement with landscape.

Revealing the connections between the veneration of national landscape and eighteenth-century English vocal music, this study restores English music’s connections with the picturesque. This book explores this gap, and shows how secular song, the glee, and national theatre music expressed a uniquely English engagement with landscape.

Georgian Vocal Music, Haydn, and Landscape Aesthetics

The Sound of the English Picturesque

The chapters in this volume explore the relationship between music and art in Italy across the long sixteenth century, considering an era when music-making was both a subject of Italian painting and a central metaphor in treatises on the arts. Beginning in the fifteenth century, transformations emerge in the depiction of music within visual arts, the conceptualization of music in ethics and poetics, and in the practice of musical harmony. This book brings together contributors from across musicology and art history to consider the trajectories of these changes and the connections between them, both in theory and in the practices of everyday life.In sixteen chapters, the contributors blend iconographic analysis with a wider range of approaches, investigate the discourse surrounding the arts, and draw on both social art history and the material turn in Renaissance studies. They address not only paintings and sculpture, but also a wide range of visual media and domestic objects, from instruments to tableware, to reveal a rich, varied, and sometimes tumultuous exchange among musical and visual arts and ideas. Enriching our understanding of the subtle intersections between visual, material, and musical arts across the long Renaissance, this book offers new insights for scholars of music, art, and cultural history.Chapter 15 and Chapter 11 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Bringing the research of musicologists, art historians, and film studies scholars into dialogue, this book explores the relationships between visual art forms and music. The chapters are organized around three core concepts - threshold, intermediality, and synchresis - which offer ways of understanding and discusssing the interplay between the arts of sounds and images. Refuting the idea that music and visual art forms only operate in parallel, the contributors instead consider how the arts of sound and vision are entwined across a wide array of materials, genres and time periods.

Contributors delve into a rich variety of topics, ranging from the art of Renaissance Italy to the politics of opera in contemporary Los Angeles to the popular television series Breaking Bad. Placing these chapters in conversation, this volume develops a shared language for cross-disciplinary inquiry into arts that blend music and visual components, integrates insights from film studies with the conversation between musicology and art history, and moves the study of music and visual culture forward.

Bringing the research of musicologists, art historians, and film studies scholars into dialogue, this book explores the relationships between visual art forms and music.

Threshold, Intermediality, Synchresis

Experiencing Music and Visual Cultures

Icons of Sound: Voice, Architecture and Imagination in Medieval Art brings together art history and sound studies to offer new perspectives on medieval churches and cathedrals as spaces where the perception of the visual is inherently shaped by sound.

Icons of Sound: Voice, Architecture and Imagination in Medieval Art brings together art history and sound studies to offer new perspectives on medieval churches and cathedrals as spaces where the perception of the visual is inherently shaped by sound.

Voice, Architecture, and Imagination in Medieval Art

Icons of Sound

Featuring multidisciplinary research by an international team of leading scholars, this volume addresses the contested aspects of arabesque while exploring its penchant for crossing artistic and cultural boundaries to create new forms. Enthusiastically imported from its Near Eastern sources by European artists, the freely flowing line known as arabesque is a recognizable motif across the arts of painting, music, dance, and literature. From the German Romantics to the Art Nouveau artists, and from Debussy's compositions to the serpentine choreographies of Loïe Fuller, the chapters in this volume bring together cross-disciplinary perspectives to understand the arabesque across both art historical and musicological discourses.

Featuring multidisciplinary research by an international team of leading scholars, this volume addresses the contested aspects of arabesque while exploring its penchant for crossing artistic and cultural boundaries to create new forms. Enthusiastically imported from its Near Eastern sources by European artists, the freely flowing line known as arabesque is a recognizable motif across the arts of painting, music, dance, and literature. From the German Romantics to the Art Nouveau artists, and from Debussy’s compositions to the serpentine choreographies of Loïe Fuller, the chapters in this volume bring together cross-disciplinary perspectives to understand the arabesque across both art historical and musicological discourses.

Icons of Sound: Voice, Architecture, and Imagination in Medieval Art brings together art history and sound studies to offer new perspectives on medieval churches and cathedrals as spaces where the perception of the visual is inherently shaped by sound. The chapters encompass a wide geographic and historical range, from the fifth to the fifteenth century, and from Armenia and Byzantium to Venice, Rome, and Santiago de Compostela. Contributors offer nuanced explorations of the intangible sonic aura produced in these places by the ritual music and harness the use of digital technology to reconstruct historical aural environments.Rooted in a decade-long interdisciplinary research project at Stanford University, Icons of Sound expands our understanding of the inherently intertwined relationship between medieval chant and liturgy, the acoustics of architectural spaces, and their visual aesthetics. Together, the contributors provide insights that are relevant across art history, sound studies, musicology, and medieval studies.

The Routledge Companion to Contemporary Art Histories and Globalisation

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Opera and Drama

SOAS Studies in Music

With the abrogation of the Zen Buddhist Fuke sect during Japan's modernisation process in the late nineteenth century, the raison d'être for the shakuhachi (Japanese vertical bamboo flute) as a spiritual tool for mendicant monks suddenly vanished. Thereafter, playing the shakuhachi changed from spiritual practice to professional musicianship or musical hobby. The fact that the instrument had been modified and 'improved' has been a well-kept secret. The old style shakuhachi, now named jinashi shakuhachi, became a marginalised instrument for eccentrics. However, during the past decade it has gained popularity, especially outside Japan, where it is considered to be 'the real thing' as opposed to the modernised jinuri shakuhachi. Kiku Day examines how the jinashi shakuhachi, although constructed according to the principles current prior to the Meiji Restoration, itself has been modified to adapt to the needs of modern players. In order to place the instrument into the modern world in its own right, the author, a professional jinashi shakuhachi player, describes her recent collaboration with five international composers on a performance project with the aim of creating a new repertoire. This process of cross cultural creation is described against the background of action research, Theory U, and the theory of flow.

With the abrogation of the Zen Buddhist Fuke sect during Japan’s modernisation process in the late nineteenth century, the raison d’Ãªtre for the shakuhachi (Japanese vertical bamboo flute) as a spiritual tool for mendicant monks suddenly vanished. Thereafter, playing the shakuhachi changed from spiritual practice to professional musicianship or musical hobby. The fact that the instrument had been modified and ’improved’ has been a well-kept secret. The old style shakuhachi, now named jinashi shakuhachi, became a marginalised instrument for eccentrics. However, during the past decade it has gained popularity, especially outside Japan, where it is considered to be ’the real thing’ as opposed to the modernised jinuri shakuhachi. Kiku Day examines how the jinashi shakuhachi, although constructed according to the principles current prior to the Meiji Restoration, itself has been modified to adapt to the needs of modern players.  In order to place the instrument into the modern world in its own right, the author, a professional jinashi shakuhachi player, describes her recent collaboration with five international composers on a performance project with the aim of creating a new repertoire. This process of cross cultural creation is described against the background of action research, Theory U, and the theory of flow.

The Instrument Today and the Creation of a Contemporary Repertoire

The Jinashi Shakuhachi

Musical improvisation is a complex form of creative human expression. In this book, Sabina Rakcheyeva explores the logical outcomes of performance, relating them to existing theories and expanding those theories with new findings. Rakcheyeva begins with an examination of the attributes of musical improvisation, how it is practised, its logic, the creativity of the process and the role of the audience in performance. The book's second half is devoted to a description of a performance-based research project involving the author, a violinist, and members of her ensemble. A self-referent endeavour involving cross-cultural and cross-disciplinary analyses, investigates aspects of improvisation in recent musical practice, juxtaposing this onto the author's own performance experience and elaborating, in particular, on how improvisation encapsulates processes of imagination, creation, and collaboration among musicians from different music backgrounds. Taking the music performance to a next stage, the author explores the ways of how musical collaboration as a tool of public engagement can contribute to promoting understanding and preventing and resolving conflict, in a search of methodology for improving the effectiveness of current practices

Musical improvisation is a complex form of creative human expression. In this book, Sabina Rakcheyeva explores the logical outcomes of performance, relating them to existing theories and expanding those theories with new findings. Rakcheyeva begins with an examination of the attributes of musical improvisation, how it is practised, its logic, the creativity of the process and the role of the audience in performance. The book’s second half is devoted to a description of a performance-based research project involving the author, a violinist, and members of her ensemble. A self-referent endeavour involving cross-cultural and cross-disciplinary analyses, investigates aspects of improvisation in recent musical practice, juxtaposing this onto the author’s own performance experience and elaborating, in particular, on how improvisation encapsulates processes of imagination, creation, and collaboration among musicians from different music backgrounds. Taking the music performance to a next stage, the author explores the ways of how musical collaboration as a tool of public engagement can contribute to promoting understanding and preventing and resolving conflict,in a search of methodology for improving the effectiveness of current practices.

Music as Cultural Diplomacy: Using Improvisation as a Creative Tool

Bollingen Series

Its Mythology and Transformations, Volume 2 (Plates)

The Art of Indian Asia

A collaboration between Jess T. Dugan (photographer of To Survive On This Shore) and curator Charlotte Cotton, Love Pictures centers around conversations about themes informing Dugan’s practice, including gender and identity, family and politics, writing and language, relationships and community, the book as object, and the dynamics of the exhibition space. These initial dialogues then prompted subsequent conversations with others in Dugan’s and Cotton’s respective communities: friends, colleagues, mentors, and subjects of Dugan’s work—including Dawoud Bey, Kelli Connell, Dorothy Moss, and Catherine Opie, among others. Transcriptions of these intimate and in-depth exchanges are woven with the first comprehensive survey of Dugan’s work in book form. Dugan's work is in the permanent collections of over sixty museums, including the Denver Art Museum, Getty Research Institute, Harvard Art Museums, International Center of Photography, Leslie/Lohman Museum of Gay and Lesbian Art, Minneapolis Institute of Art, Museum of Fine Arts Boston, Museum of Fine Arts Houston, Nelson-Atkins Museum of Art, National Gallery of Art, and San Francisco Museum of Modern Art.

Jess T. Dugan and Charlotte Cotton: Love Pictures

Stories Behind The Songs, Tours and Rise of an Icon

The Stories Behind the Songs, Tours and Rise of an Icon

Ariana Grande

The Archetypal World of Henry Moore

Penguin Monarchs

Part of the "Penguin Monarchs" series, these are short, fresh and informative accounts of England's rulers.

Part of the Penguin Monarchs series: short, fresh, expert accounts of England's rulers in a collectible format Henry VII was one of England's unlikeliest monarchs. An exile and outsider with barely a claim to the throne, his victory over Richard III at Bosworth Field seemed to many in 1485 only the latest in the sequence of violent convulsions among England's nobility that would come to be known as the Wars of the Roses - with little to suggest that the obscure Henry would last any longer than his predecessor. To break the cycle of division, usurpation, deposition and murder, he had both to maintain a grip on power and to convince England that his rule was both rightful and effective. Here, Sean Cunningham explores how, in his ruthless and controlling kingship, Henry VII did so, in the process founding the Tudor dynasty.

Treason and Trust

Henry VII (Penguin Monarchs)

The Fashion Book is designed to be a one-stop textbook and reference for students of fashion and textile studies in the English-speaking world. This inter-disciplinary introduction to theories, debates, methodologies and case studies in fashion studies will suit students in degrees, modules and majors including cultural studies, art, communications/media, cultural geography, anthropology and cultural history.

The Fashion Book is an exciting, readable and comprehensive, all-in-one resource for students of fashion across the English-speaking world. It is designed as an introduction to fashion studies that can be used in a range of fashion courses from fashion studies degrees to fashion modules, and majors in disciplines including cultural studies, cultural sociology, cultural geography, communications and media, anthropology and cultural history. The book will present current writings and research on major topics debates in fashion studies drawing on the literature on fashion theory and incorporating many global case studies (as easy-to-read boxed material). Graphs, tables and diagrams will add texture to the written material. Approximately 200 colour images are planned to generously illustrate the historical and the contemporary tapestry of fashion. A dedicated interactive website will complement the text and ensure that students are in touch with the latest news, issues and trends.

Music and Visual Culture in Renaissance Italy

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