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Medieval Art and Music between Heritage, Modernity, and Multi-Media
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Medieval Art and Music between Heritage, Modernity, and Multi-Media

A special issue of Arts (ISSN 2076-0752).

Deadline for manuscript submissions: 30 September 2024 | Viewed by 1884

Special Issue Editor

Dr. Bissera Pentcheva

E-Mail Website
Guest Editor
The Department of Art and Art History, School of Humanities and Sciences, Stanford University, Stanford, CA 94305, USA
Interests: Medieval art; music; acoustics; phenomenology; aesthetics

Special Issue Information

Dear Colleagues,

We are pleased to invite you to contribute an article for the special issue of the journal Arts entitled Medieval Art and Music between Heritage, Modernity, and Multi-Media.

This special issue of Arts explores the role of multi-disciplinary scholarship in uncovering and communicating the multi-media nature of medieval art. The focus is on the eleventh-century golden statue of Sainte-Foy at Conques and its public worship. This is the earliest surviving sculpture found in the ground from the Latin West at a site of rich artistic production of architecture, art, poetry and music. What makes this place unique is that most of this artistic production has survived to this day, and it is at the highest level of quality, yet barely studied in modern times. The chants written for the feast of Sainte-Foy (October 6) have not been performed for over a thousand years. Stanford’s “Enchanted Images” (http://enchantedimages.stanford.edu) project is the first to transcribe, translate, and perform this corpus of music and explore the visual art through its aural envelopment. This volume of Arts engages with the results of this research project and engages with the first live performance of Sainte-Foy’s medieval Office featured in the Stanford Live program on February 10, 2023. Art historians, curators, and musicologists of international reputation are invited to contribute articles. 

Medieval art does not fit modern art historical categories. The field’s secular, atheistic bent has put aside interest in the study of this tradition, excised religion, and prioritized an engagement with the modern and contemporary. However, is medieval art distant and irrelevant to our times? Is it also art? Should this tradition be placed on the slide between modern and heritage? Medieval images and architecture were not designed as art but as a medium through which to reach the metaphysical. Heritage lives with us, continuously tapping into both the past and future and staying with us in the present, giving us identity. How can the performance of medieval art and its installation in museums strengthen heritage and the relevance of this tradition to contemporary audiences? These are some of the questions the art historians and curators will address. We hope that musicologists will engage with the issue of performance and will also uncover the importance of Aquitanian chant for our understanding of the development of medieval music.

In this Special Issue, original research articles and reviews are welcome.

I look forward to receiving your contributions.

Dr. Bissera Pentcheva
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • Medieval art
  • music
  • poetry
  • acoustics
  • liturgy
  • worship

Published Papers (2 papers)

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Research

28 pages, 14857 KiB  
Article
Yes, It Is Polyphony and a Map: Revisiting the 72 Verses of St. Martial
by Laura Steenberge
Arts 2024, 13(2), 73; https://doi.org/10.3390/arts13020073 - 17 Apr 2024
Viewed by 248
Abstract
The enigmatic 72 Verses for St. Martial is one of the many works by Ademar de Chabannes (989–1034) crafted to promote the false narrative that St. Martial of Limoges, rather than being a third-century bishop, was actually a first-century apostle. The composition is [...] Read more.
The enigmatic 72 Verses for St. Martial is one of the many works by Ademar de Chabannes (989–1034) crafted to promote the false narrative that St. Martial of Limoges, rather than being a third-century bishop, was actually a first-century apostle. The composition is visually striking due to the acrostic formed from the first letter of each tercet, MARCIALIS APOSTOLVS XRISTI, and its two overlapping melodies, one in black ink and the other in red. The relationship between the two notations is the subject of debate: Paul Hooreman’s conclusion that they are two variations of the same monophonic chant is countered by Manuel Pedro Ferreira, who argues that Hooreman’s reasoning is insufficient to rule out polyphony. I use Ferreira’s assessment as a jumping-off point for the current analysis, which investigates the compositional processes underlying the creation of the 72 Verses. Hooreman describes many details in the chant as subject to disorganization, scribal error, lack of ability, etc., but when the chant is analyzed polyphonically, these problems resolve. Beyond the music itself, the chant’s unusual polyphonic structure features reveals that the chant is structured around medieval maps, moving between a mappa mundi and the celestial spheres. Full article
(This article belongs to the Special Issue Medieval Art and Music between Heritage, Modernity, and Multi-Media)
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13 pages, 292 KiB  
Article
The Medieval Chants for Ste Foy Considered through the Prism of Their Nocturnal Performance
by Henry Parkes
Arts 2023, 12(5), 188; https://doi.org/10.3390/arts12050188 - 04 Sep 2023
Viewed by 1246
Abstract
The medieval cult of Ste Foy inspired several sets of liturgical chants, or historiae, including at least two that were probably made for use at Conques in the early eleventh century. Whilst it is widely understood that historia chants belonged within the [...] Read more.
The medieval cult of Ste Foy inspired several sets of liturgical chants, or historiae, including at least two that were probably made for use at Conques in the early eleventh century. Whilst it is widely understood that historia chants belonged within the liturgy of the Divine Office, this article explores the significance of two lesser-known parameters in their performance: their use during the nocturnal hours, above all during the lengthy service known as the Night Office, and their use alongside various modes of sensory augmentation that were employed on major feast days. By exploring these parameters as they might have applied to the medieval Abbey of Conques in the context of Ste Foy’s feast—using sources from Fleury and Saint-Bénigne, Dijon, wherever local evidence is lacking—the article draws attention to the ways in which historiae intersected with non-verbal modes of creativity within the performative frame of the Office liturgy. Ultimately, it argues for a more consciously multidisciplinary approach to this historically ‘musical’ genre. Full article
(This article belongs to the Special Issue Medieval Art and Music between Heritage, Modernity, and Multi-Media)
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