Tim Shephard - The Routledge Companion to Music and Visual Culture

THE ROUTLEDGE COMPANION TO MUSIC AND VISUAL CULTURE

THE ROUTLEDGE COMPANION TO MUSIC AND VISUAL CULTURE

Edited by
Tim Shephard and Anne Leonard

First published 2014
by Routledge

711 Third Avenue, New York, NY 10017
Simultaneously published in the UK
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

2014 Taylor & Francis

The right of Tim Shephard and Anne Leonard to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data
The Routledge companion to music and visual culture / edited by
Tim Shephard and Anne Leonard.
pages cm
Includes bibliographical references and index.
1. Art and music. 2. Music in art. 3. Art in music. 4. Visual communication.
5. Arts. I. Shephard, Tim, editor of compilation. II. Leonard, Anne (Anne Rachel), editor of compilation.
ML3849.R82 2014
780.07dc23
2013001499

ISBN: 9780415629256 (hbk)
ISBN: 9780203629987 (ebk)

Typeset in Goudy by Swales & Willis Ltd, Exeter, Devon

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Editorial Assistant: Elysse Preposi
Production Editor: Emma Hkonsen
Marketing Manager: Joon Won Moon
Project Manager: Swales and Willis
Copy Editor: Judith Oppenheimer
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Cover Design: Jayne Varney

TIM SHEPHARD AND ANNE LEONARD

PART I
Starting Points

RICHARD LEPPERT

SIMON SHAW-MILLER

PART II
Methodologies

CHARLOTTE DE MILLE

JONATHAN HICKS

ROBERT L. KENDRICK

MARSHA MORTON

LAURA CULL

DAVID NEUMEYER

ANDREW KILLICK

PART III
Reciprocation

ALAN DAVISON

STEPHEN A. BERGQUIST

AYLA LEPINE

PHILIP WELLER

ALEXANDER BINNS

THERESE DOLAN

WILLIAM L. COLEMAN

LAURA LEANTE

LIV LANDE

MARICA S. TACCONI

KATE VAN ORDEN

JAN BUTLER

PART IV
Convergence

GURMINDER KAUR BHOGAL

ANTONIO CASCELLI

ANNE LEONARD

CLARE HORNSBY

TIM SHEPHARD

SHEILA MCTIGHE

DIANE V. SILVERTHORNE

JONATHAN B. KATZ

PETER L. SCHMUNK

TIM SHEPHARD

LAURA MORETTI

ABIGAIL WOOD

MINGMEI YIP

FABIAN HOLT

PART V
Hybrid Arts

KELLEY HARNESS

SARAH HIBBERD

PHILIP WELLER

FLAVIANA SAMPAIO

DOMINIC MCHUGH

ANNA MORCOM

DAVID NEUMEYER

HOLLY ROGERS

ROGER MOSELEY

2.1 Alexander Rimington's Color Organ c. 1912

2.2 Abstract patterns from the Toccata and Fugue in D minor sequence of Disney's 1940 animated feature Fantasia

2.3 Mickey Mouse as the apprentice-magician in Disney's 1940 animated feature Fantasia

11.1 Jean Moyreau, Jean-Fry Rebel, 1720s, engraving, private collection

12.1 Julia Margaret Cameron, Whisper of the Muse, 1865, albumen print from wet collodion on glass negative, Victoria and Albert Museum, London

13.1 Anne Vallayer-Coster, The Attributes of Music, 176970, oil on canvas, Muse du Louvre, Paris

14.1 Tsukioka Yoshitoshi, Ariko, 1886, color woodblock print, from the series One hundred aspects of the moon, British Museum, London

15.1 Frontispiece, L'Artiste, tome 1 (Paris, 1831)

15.2 Jean-Auguste-Dominique Ingres, Paganini, 1819, graphite on paper, Muse du Louvre, Paris

15.3 Ferdinand-Victor-Eugne Delacroix, Paganini, 1831, oil on canvas, The Phillips Collection, Washington, DC

16.1 Akseli Gallen-Kallela, Kullervo Cursing, 1899, oil on canvas, Ateneum Art Museum, Helsinki

17.1 Manjiri Asanare-Kelkar using gesture to describe a melodic phrase, 11 December 2006

17.2 Arun Bhaduri discussing raga Kedar, 15 February 2007

19.1 Florence, Archivio dell'Opera di Santa Maria del Fiore, Cod. Cn. 11, f. 4v

27.1 Nicolas Poussin, Self-Portrait, 1649, oil on canvas, Gemldegalerie, Berlin

27.2 Nicolas Poussin, Self-Portrait, 1650, oil on canvas, Muse du Louvre, Paris

28.1 Entrance to the Vienna Secession Exhibition Pavilion, where the 1902 Beethoven Exhibition was staged

29.1 A lady awaiting her lover in a grove, illustrating the musical mode Kamodani Ragini

30.1 Jean-Baptiste-Camille Corot, The Artist's Studio, c. 1868, oil on wood, National Gallery of Art, Washington, DC

30.2 Odilon Redon, Orpheus, c. 1898, pastel, Cleveland Museum of Art

32.1 Ludovico Toeput, called il Pozzoserrato, Concert in a villa, c. 1596, oil on canvas, Museo Civico, Treviso

32.2 Padua, House of Alvise Cornaro, Odeo, plan. From Sebastiano Serlio, Il Settimo Libro d'Architettura (Frankfurt, 1575), 219

32.3 Padua, House of Alvise Cornaro, Odeo, section. From Sebastiano Serlio, Il Settimo Libro d'Architettura (Frankfurt, 1575), 223

33.1 Musical instruments for sale in a tourist market in Jerusalem's Old City, 14 September 2009

34.1 The author playing the qin in a Daoist temple, Beijing, 2004

34.2 Bodhisavatta playing the qin, from a Mogao cave

35.1 Photograph of main stage, Tomorrowland festival, 2012

36.1 Title page of Lorenzo Franceschi, Ballo e giostra de' venti: nelle nozze del serenissimo principe e della serenissima principessa di Toscana, arcidvchessa d'Avstria (Florence: Giunti, 1608), the Getty Research Institute, Los Angeles

36.2 Mathieu Greuter, Giostra dei venti, 1608, etching, the Getty Research Institute, Los Angeles

38.1 Bernardo Bellotto, a performance of Le Turc Gnreux given in Vienna on 26 April 1758, published in 1759, engraving, private collection

43.1 Video still from Robert Whitman, Two Holes of Water3, 9 Evenings: Theatre & Engineering (1966)

43.2 David Stout performs SignalFire, 18 January 2004

This book was initially proposed to Routledge by Tim Shephard in a more modest form, for their Routledge Music Bibliography Series. The intention was to fill the gap between existing treatments of the sub-discipline of music iconography, rooted quite self-consciously in the methods of celebrated art historians of the earlier twentieth century, and the possibilities offered by the rather different perspectives that have emerged within musicology and art history more recently. It is a testament to the publisher's commendable investment in this area of scholarship that they immediately prompted expansion to the much more ambitious dimensions of a Companion.

The process of substantially adapting and revising the proposal began with the enlisting of a co-editor, Anne Leonard, making a team comprising one musicologist and one art historiansomething that we hope has decisively increased the cross-disciplinary credibility and scope of the book. In the following months, as we built our roster of contributors, we encountered approval of the project from many quarters, which not only was personally heartening, but also and more importantly confirmed our impression that the book was both needed and timely.