Icons of Sound: Voice, Architecture, and Imagination in Medieval Art (Music and Visual Culture)

This book 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. Cover 1 Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Table of Contents 6 List of Contributors 8 Acknowledgements 10 Introduction 12 1 Singing Doors: Images, Space, and Sound in the Santa Sabina Narthex 30 2 Sights and Sounds of the Armenian Night Office, as Performed at Ani: A Collation of the Archaeological, Historical, and Liturgical Evidence 47 3 The Glittering Sound of Hagia Sophia and the Feast of the Exaltation of the Cross in Constantinople 63 4 Transcendent Visions: Voice and Icon in the Byzantine Imperial Chapels 112 5 Echoes and Silences of Liturgy: Liturgical Inscriptions and the Temporality of Medieval Rituals 143 6 Sound, Space, and Sensory Perception: The Easter Mass in the Liturgy of San Marco, Venice 162 7 The Marble Tempest: Material Imagination, the Echoes of Nostos, and the Transfiguration of Myth in Romanesque Sculpture 179 Epilogue: A Voice from Beyond the Grave: Tintoretto Among the Art Historians 233 Bibliography 244 Index 276 medieval,art;,medieval,music;,medieval,architecture;,medieval,chant;,medieval,religion;,chant;,vocal,music;,sound,studies;,voice,studies;,music,and,visual,culture;,music,and,art;,music,and,architecture;,sound,studies,and,art;,sound,studies,and,architecture;,medieval,church;,medieval,churches;,Byzantine,chant;,Byzantine,church;,Byzantine,art;,Byzantine,music;,Latin,chant;,church,music;,soundscape;,Hagia,Sophia;,Romanesque,sculpture;,Armenian,church;,church,liturgy;,medieval,liturgy;,Church,of,San,Marco;,digital,humanities;,Santa,Sabina;,aurality;,acoustics;,Santiago,de,Compostela;,Tintoretto; medieval art,medieval music,medieval architecture,medieval chant,medieval religion,chant,vocal music,sound studies,voice studies,music and visual culture,music and art,music and architecture,sound studies and art,sound studies and architecture,medieval church,medieval churches,Byzantine chant,Byzantine church,Byzantine art,Byzantine music,Latin chant,church music,soundscape,Hagia Sophia,Romanesque sculpture,Armenian church,church liturgy,medieval liturgy,Church of San Marco,digital humanities,Santa Sabina,aurality,acoustics,Santiago de Compostela,Tintoretto "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 importance of intangible sonic aura to these spaces, including the temporal and performative nature of ritual music, as well as 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."-- Provided by publisher 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. Icons of 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.