Perspectives on Music, Sound and Musicology II: Sounding Images: Sights, Sounds and Sensualities

This book gathers a set of peer-reviewed works at the intersection between music, sound, and image research and practice. They are based on presentations contributed to the EIMAD–Meeting of Research in Music, Arts and Design conference, held at the Polytechnic University of Castelo Branco, Portugal, in 2020 and 2022, under the theme: "Sounding Images”. Authored by researchers in musicology, musical iconography, cinema and audiovisuals, digital arts, composition, sound art, and data sonification, the 21 chapters of this book offer a valuable resource and source of inspiration for professionals, researchers and general audiences in these interconnected fields. Preface Contents Musical Iconography What Does the Restoration of the 1789 Antunes Harpsichord Reveal to Us? 1 Introduction 2 Historical Context 3 Authorship 4 Provenance 5 Short Organological Description (Before Restoration) 6 Restoration Work 7 Evaluation Searching for the Sound of the Past: Towards the History of the Bells in Braga—Portugal 1 Introduction 2 The Bells’ Ringing at Funeral Ceremonies 3 Two Bells Worth Noticing 4 The Church of the Former Pópulo’s Convent and His Bell Tower 5 The Bell Towers of Congregados 6 The Church of Nossa Senhora-a-Branca’s Bell of Childbirth (or of Expectation) 7 The Birthing (or Expectation) Bell of the Church of Nossa Senhora à Branca 8 The Bells’s Monastery of S. Martinho de Tibães 9 The Bell Tower of the Church of the Parish of Tebosa 10 The Bells of Bom Jesus do Monte 11 The Chapel of Nossa Senhora da Consolação and Its Bell Tower 12 Final Note References Performance Practices and Theatrical Venues at the Spanish Court During the Reign of Phillip V 1 Theatrical Spaces 2 Theatrical Venues at the Royal Sites 2.1 Aranjuez 2.2 The Construction of Portable Theatres 3 The Arrangement of the Performance Spaces 3.1 The Significance of Iconographic Sources for the Reconstruction of Representation Spaces 3.2 Precedents in the Construction of Spaces for Musicians 3.3 The Reinterpretation of the Performing Spaces 4 Conclusions References The 1785 Antunes Harpsichord and Its Painted Imagery: An Interpretation 1 Introduction 2 The Antunes, A Family of Makers 2.1 Joaquim José Antunes (1733–1801) 3 The 1785 Harpsichord 3.1 The Instrument’s Journey 3.2 Materials and Other Features 4 The Harpsichord as a Canvas 5 The Harpsichord as an Allegory 6 The Painted Imagery on the 1785 Antunes Harpsichord 6.1 Iconographic Programme 6.2 Iconographic Models 7 Conclusion References CHINOISERIES and ‘CHINESICES’: Images of Music in Sino-Portuguese Paintings from the 18th Century 1 The Emergence of Chinoiserie, Chinesice, Charão and Acharoado 2 Corpus of Paintings 3 Musical Iconography: The High Choir in the Convent of Santa Joana in Aveiro, 1731 (inv. 176/m) 4 Final Considerations References An Image Out of Step: The Death Mask of Priest José Maurício Nunes Garcia in the National Historical Museum Collection (Rio de Janeiro) 1 Introduction 2 The Image of José Maurício Nunes Garcia Constructed by His Biographers 3 Between Museums: Journeys of the Mask 4 Between the “Skin” and the “Core” 5 Final Considerations References Among Insects and Guitars—The Presence of Vanitas Elements in the Work of Amadeo de Souza-Cardoso 1 Introduction: Amadeo de Souza-Cardoso from Manhufe to Paris 2 From Xenia to Vanitas: Framing the Still Life in European Painting 3 Vanitas in the Work of Amadeo 4 Conclusion References What Does Sound Look Like? Musical Iconography in the Quilts of Castelo Branco 1 Introduction 2 Materials 3 Milestones in the History of Embroidery 4 Embroidery Characteristics 4.1 Design and Layout 4.2 Motifs 5 Sounds 5.1 Animal Sounds 5.2 Ambient Sounds 5.3 Musical Instruments 6 Conclusion References Weaving Music: Music Within Portalegre’s Tapestries 1 The Tapestry Industry in Portugal 2 Manufactura de Tapeçarias de Portalegre 3 Music Within Portalegre’s Tapestries 4 Some Conclusions References Music and Opera in Chinese Propaganda Posters—The Kwok On Collection in Portugal 1 Introduction 2 Cultural Maoism 3 Chinese Propaganda Posters 4 Musical Representations 4.1 Music, Celebration and Ritual 4.2 Revolutionary Songs 4.3 Model Works (Yangbanxi) 5 Final Remarks References “3 + 2 = City, Art and Music” or Three Considerations About Two Murals by Mário Belém 1 Three Considerations 2 Two Murals 3 Conclusion: 3 + 2 = City, Art and Music References Sound and Image Preservation as an Intertextual Practice. Addressing the Documentation of Scenic-Visual Elements in Music Theatre Performances 1 Introduction 2 On Music Theatre and Its Preservation 3 Interdisciplinarity and Multiplicity: The Case of Libera Me 3.1 On Documentation: The Concert Version 4 The Ekphrastic icono/phono-text 4.1 On the Need for Preservation as an Intertextual Practice 5 Conclusion 6 Disclosure Statement 7 Notes on Contributors Appendix References Metamorphosis from the Acoustic into the Optical. The Picture Form of the Musical Artwork as One of Its Thirteen Forms of Existence 1 Imagining, Hearing, Seeing. The Music Process Between Inspiration and Memorization 1.1 Music as a Multi-layered and Multi-sensorial Process and as Product of a Process 1.2 The Concept ‘Forms of Existence’—List of the ‘Forms of Existence’ 1.3 ‘Segmented Continuum’: An Overarching Holistic Process with Cesuras 2 Demarcations: Pictures with Music, Pictures Based on and About Music, Picture Form of Works, Music Form of Pictures 2.1 Almost Omnipresent. Pictures Beyond the Picture Form 2.2 Art and Art—Intertextuality/Intermediality. Reverberations and Interactions of Music with Texts, Pictures, and Other Arts 2.3 Zigzag: Literature, Picture Form of Literature/Fine Art, Music Form of Literature, Ballet Form as Picture Form of Music, Picture Form of Ballet 3 Pars Pro Toto. Partial Pictures of Complete Works 3.1 Picture Form of Elements, Components, and Parts of a Particular Work 3.2 Covers—Of Sheet Music, of Sound Carriers, and of Music Videos, and Advertisements 4 Static Object-Like Picture Form of Entire Works 4.1 Pictures of Real Musical Artworks 4.2 Pictures of Fictitious Works 4.3 “Audio Score” 4.4 Amalgamation of Picture Form and Score Form: ‘Graphical Notation’ 4.5 Relative Autonomy of the Picture Form in the Score Form: ‘Musical Graphic’ 5 Dynamic Process-Like Picture Forms of Entire Works. I: Self-Contained 5.1 Translation of Musical Works in Sign Language 5.2 Dance Without Music 5.3 Static Epic-theatrical Picture as Part of a Process-Like “Total Work of Art” in the Street Ballad (Cantastoria) 6 Dynamic Process-Like Picture Forms of Entire Works. II: Simultaneous with the Sound Form 6.1 “Visible Musik” 6.2 A Fundamental Contradiction of the Process-Like Picture Form: Object-Related Mimesis and Iconic Representation of the Work Versus Subject-Related Arbitrary Optical Association 6.3 Adaption to Dance. ‘Ballet D’action’ Versus Abstract Ballet 6.4 Picture Forms as Part of a “Gesamtkunstwerk”. Drama, Text, Music, Static Stage Design and Processual Scenic Action 6.5 Movie Adaptations of Concert Music and Music Theater 6.6 Movie Adaptation by Animation 6.7 “Visualization”. Automaticized Picture Forms with Traits of the Phonographic or Technical Reproduction Form 7 Picture Form as Music Form. Image Instead of Sound 8 Picture in Mind. Subjectivization, Interiorization, Variations Through Receptive Realization: Imagination Form 8.1 Imagination Form as Mental Reconstruction of the Heard Work 8.2 Imagination Form as Mental Reconstruction of a Real Work Unheard by the Subject from Mediated, Fragmentary and Vague Information 8.3 Imagination Form as Mental Construction of a Non-realized Work 8.4 Imagination Form as Construction of a Non in Reality Existing, Fictitious Work 9 The Circle of the Forms of Existence as a Spiralic Chain References Score with a View—Sounding Images, Imagining Sound 1 A–B 2 A0–A1 3 B0–B1 4 A′–B′ References Aural Architecture: The Sonorous, the Acoustic and the Auditory 1 Transdisciplinar Practice 1.1 Non-music 1.2 Non-Architecture 1.3 Non-art 2 Situated Experience 2.1 Situated Sonic Experience 2.2 Situated Spatial Experience 2.3 Situated Aesthetic Experience 3 Listening Ecology 3.1 Listening as Sounding Sensation 3.2 Listening as Vibrational Reception 3.3 Listening as Creative Perception 4 Aural Architecture 4.1 Sound-Space 4.2 Acoustic-Space 4.3 Aural-space 5 Conclusions References The ‘Truth of Sound’: Exploring the Impacts of Immersive Location Sound Recording in Realist Filmmaking 1 Introduction 2 The Sound Recordist in Academia 3 Understanding Realist Filmmaking 4 Sound’s Indexical Relation to the Authenticity of Realist Filmmaking 5 So, What is Ambisonics? 6 Towards an Ambisonic-Centred Location Sound Recording Methodology References The Problem with Sonification 1 Introduction 2 The Advantages of Sonification 3 The Problems with Sonification and How to Mitigate Them 3.1 Unfamiliarity with Sonification 3.2 The Data Are not the Story 3.3 Sound is not Data 3.4 Sonification is not Music and Vice Versa 3.5 The Data is not the Music Either 3.6 Flawed Mapping Strategies 3.7 Temporal Constraints 3.8 Display Fatigue 3.9 Social Impact 4 Conclusion References Resonant Aesthetics: Attention and Synaesthesia in Digital Media Art 1 Introduction 2 Attention and Visual Stimulation 3 Attention and Auditory Stimulation 4 Intersections of Image and Sound 5 Digital Media and Resonant Aesthetics 6 Conclusion References Syntithenai Poiēsis—Perceptual Unified Objects 1 Context 2 Paragone 1—Visual Perception, Sound Perception and Hierarchy of Senses 3 Paragone 2—The Complementary and Parallel Itineraries of Sound and Visual in the Arts. 4 Simultaneous Composition of Sound and Visual Image 5 Perceptual Objects 6 In Short References Phonospermia, Aesthesic Listening and Sonic Cosmologies 1 Sonoscopia 2 Multissensorial Listening 3 Aesthesic Waves 4 Phonospermia 5 oCo 6 Discussion References Sound-to-Visual Mapping Strategies in Audiovisual Performance and Installations 1 Introduction 2 Case Studies 2.1 Boris Chimp 504 2.2 Máquina Magnética 2.3 Scanning the Surface of Vale Tudo 2.4 Future Sound of [] 3 Conclusion References