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 Thofner, 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 Dowd 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, Arizona State University, 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, University of Toronto, 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, University of Durham, 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
