The Bloomsbury Handbook of Music and Art

Contents

• List 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 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, California State University, Long Beach, 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, Independent Scholar, 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, composer and conductor, 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