Bloomsbury Handbook of Music and Art

Sarah Kraaz is Emerita Professor of Music, Ripon College, USA. She is editor of Music and War in the United States (2017). Charlotte de Mille is Associate Lecturer at The Courtauld Institute, UK, and curates The Courtauld Gallery’s music programme. She is author of Bergson in Britain: Philosophy and Modernist Art (2023), co-editor of Bergson and the Art of Immanence (2013) and editor of Music and Modernism, c. 1849–1950 (2011).

• List of IllustrationsContributorsIntroductionCharlotte de Mille, The Courtauld Institute, UK, and Sarah Mahler Kraaz, Ripon College, USASection One: Ways of PerceivingSection IntroductionCharlotte de Mille, The Courtauld Institute, UK1. Art, music and theology in the Lutheran church Margit Thøfner, Open University, UK2. 'When silence speaks’: Sibelius, Music, LandscapeDaniel Grimley, University of Oxford, UK3. Patience between the Arts(From a Mountain of Monumental Waste)Lydia Goehr, Columbia University, USA, and Daniel Herwitz, University of Michigan, USASection Two: ActivismSection Introduction Sarah Mahler Kraaz, Ripon College, USA4. Madame Campan’s Portraits or, Self-portrait of a feminist musicologist Rebecca Dowd Geoffroy-Schwinden, University of North Texas, USA5. Racist and Ethnic Stereotypes in the ArtsTravis Nygard, Ripon College, USA6. Feminism Ann-Marie Hanlon, University of Galway, Ireland7. Queerness in American Music Education: A Panoptic ViewJosh Palkki, Arizona State University, USASection Three: Access: Socio-Economic / Environment and SustainabilitySection IntroductionCharlotte de Mille, The Courtauld Institute, UK8. Whose museum? Applications in interdisciplinary thinkingMark O’Neill, Glasgow University, UK9. Access and Engagement: Classical music in the pandemic and beyondSarah Mahler Kraaz, Ripon College, USA10. Toward Social Sustainability: Ethics and Community Engagement in Heritage ManagementAnnalisa Bolin, Linnaeus University, Sweden, and David Nkusi, Rwanda Cultural Heritage Academy11. Safeguarding the intangible: communities, cultures and ecomuseum practicesPeter Davis, Newcastle University, UK12. Ecotones and Climate Change in Contemporary Eco Art Mark Cheetham, University of Toronto, Canada13. Western Art Music and the Aestheticization of Climate Change: The Case of John Luther Adams’s Become OceanTyler Kinnear, Independent Scholar, USASection Four: Intersecting CulturesSection Introduction: Juliana M. Pistorius, University College London, UK14. Globalisation: Voluspa Jarpa’s Altered Views and The Hegemonic MuseumMark Rectanus, Iowa State University, USA15. Cultural Sound Mapping in Bern: Sound-Based Ethnomusicological Research in the 21st CenturyBritta Sweers, University of Bern, Switzerland16. Unconventionally confrontational: Radicalized Asian affects, diasporic aesthetics, and the revival of Cambodian (American) rock music Runchao Liu, University of Denver, USA17. Anti-Colonial Activism and the Canadian Opera Company, 2017-2022Rena Roussin, University of Toronto, Canada18. Musical Instruments and “Migration”: A Reinvestigation of the Lutes in the Shosoin CollectionIngrid M. Furniss, Lafayette College, USASection Five: Intersecting PracticeSection IntroductionSarah Mahler Kraaz, Ripon College, USA19. Landscape/MusicJames Weeks, University of Durham, UK20. Colour, Music and SynaesthesiaDeborah Pritchard, composer and University of Oxford, UK21. William Kentridge, Provisionality in processInterview by Sarah Mahler Kraaz, Ripon College, USA22. Peter Sellars, St. Matthew Passion, opera Interview by Sarah Mahler Kraaz, Ripon College, USA23. 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, UK24. Curating Glyndebourne Nerissa Taysom, Glyndebourne Festival Opera, East Sussex, UK25. Curating Music at the CourtauldCharlotte de Mille, The Courtauld Institute of Art, UKAppendix 1: Digital ResourcesMichelle Urberg, musicologist and librarian Index

This wonderfully diverse and stimulating collection of interdisciplinary essays demonstrates beautifully how contemporary humanities needs more complex polyphony. Launched predominantly from consideration of music and art interrelations, a new turn in humanities scholarship is being undertaken here by both established and emerging researchers. Drawing on geography, ecology, museology, ethics and anti-colonial approaches (among many others), the relevance of this collection to all of us working in the humanities can hardly be overstated.