Resounding Images: Medieval Intersections of Art, Music, and Sound (Forum Mittelalter) (Studies in the Visual Cultures of the Middle Ages) (Studies in the Visual Cultures of the Middle Ages, 9)

"This study brings together for the first time scholars of Christian, Islamic and Jewish art and music to reconstruct the complex intersection between art, architecture and sound in the medieval world. Case studies explore how ambient and programmatic sound, including chant and speech, and its opposite, silence, interacted with objects and the built environment to create the multisensory experiences that characterized medieval life. While sound is probably the most difficult component of the past to reconstruct, it was also the most pervasive, whether planned or unplanned, instrumental or vocal, occasional or ambient. Acoustics were central to the perception of performance; images in liturgical manuscripts were embedded in a context of song and ritual actions; and architecture provided both visual and spatial frameworks for music and sound. Resounding Images brings together specialists in the history of art, architecture, and music to explore the manifold roles of sound in the experience of medieval art. Moving beyond the field of musical iconography, the contributors reconsider the relationship between sound, space and image in the long Middle Ages."-- Publisher's website Front Matter ("Table of Contents", "List of Illustrations", "Acknowledgments"), p. i Free Access Sound and Image in the Middle Ages: Reflections on a Conjunction, p. 15 Susan Boynton, Diane Reilly https://doi.org/10.1484/M.SVCMA-EB.5.109324 The Voice in Relief: Sculpture and Surplus Vocality at the Rise of Naturalism, p. 31 Matthew G. Shoaf https://doi.org/10.1484/M.SVCMA-EB.5.109325 Performing Silence and Regulating Sound: The Monastic Soundscape of Saint-Jean-des-Vignes, p. 47 Sheila Bonde, Clark Maines https://doi.org/10.1484/M.SVCMA-EB.5.109326 Hearing the Image at Santo Domingo de Silos, p. 71 Elizabeth Valdez del Álamo https://doi.org/10.1484/M.SVCMA-EB.5.109327 The Sound of Conversion in Medieval Iberia, p. 91 Tom Nickson https://doi.org/10.1484/M.SVCMA-EB.5.109328 “Praiseworthy in that great multitude was the silence”: Sound/Silence in the Topkapı Palace, Istanbul, p. 109 Nina Ergin https://doi.org/10.1484/M.SVCMA-EB.5.109329 Monastic Soundspaces in Late Byzantium: The Art and Act of Chanting, p. 135 Sharon E. J. Gerstel https://doi.org/10.1484/M.SVCMA-EB.5.109330 Written Voices: The Spoken Word in Middle Byzantine Monumental Painting, p. 153 Nancy Ševčenko https://doi.org/10.1484/M.SVCMA-EB.5.109331 Singing, Crying, Shouting, and Saying: Embroidered Aëres and Epitaphioi and the Sounds of the Byzantine Liturgy, p. 167 Henry Schilb https://doi.org/10.1484/M.SVCMA-EB.5.109332 The Aural-Visual Experience in the Ashkenazi Ritual Domain of the Middle Ages, p. 189 Sarit Shalev-Eyni https://doi.org/10.1484/M.SVCMA-EB.5.109333 The Play of Daniel in the Cathedral of Beauvais, p. 205 Andrew Tallon https://doi.org/10.1484/M.SVCMA-EB.5.109334 Building a Church with Music: The Plainchant Capitals at Cluny, c. 1100, p. 221 Sébastien Biay https://doi.org/10.1484/M.SVCMA-EB.5.109335 Sounds and Visions of Heaven: The Fusion of Music and Art in the Gradual of Gisela von Kerssenbroeck, p. 237 Judith H. Oliver https://doi.org/10.1484/M.SVCMA-EB.5.109336 The Desert in Paradise: A Newly-Discovered Office for John the Baptist from Paradies bei Soest and Its Place in the Dominican Liturgy, p. 251 Margot E. Fassler, Jeffrey F. Hamburger https://doi.org/10.1484/M.SVCMA-EB.5.109337 Staging the Blindfolded Bride: Between Medieval Drama and Piyyut Illumination in the Levy Maḥzor, p. 281 Sara Offenberg https://doi.org/10.1484/M.SVCMA-EB.5.109338 Integrating Anselm: Pictures and the Liturgy in a Twelfth-Century Manuscript of the “Orationes sive Meditationes”, p. 295 Michael Curschmann https://doi.org/10.1484/M.SVCMA-EB.5.109339 Silent Sounds: Musical Iconography in a Fifteenth-Century Jewish Prayer Book, p. 313 Suzanne Wijsman https://doi.org/10.1484/M.SVCMA-EB.5.109340 Back Matter ("Bibliography", "Index"), p. 335 Free Access Plates, p. 405 https://doi.org/10.1484/M.SVCMA-EB.5.109341 Medieval art has most often been extracted from its audible ambience, denying us means to understand the way it would have been experienced in a sonic context. Although sound is probably the most difficult component of the past to reconstruct, it was also the most pervasive, whether planned or unplanned, instrumental or vocal, occasional or ambient. This volume brings together specialists in architecture, manuscript illumination, and musicology to reconsider the relationship between sound and image in the visual cultures of eastern and western Christianity, Judaism, and Islam. The authors of Resounding Images take a variety of approaches to the now-missing intersection between the visual and the aural.