Modern scholarship, particularly historical studies, has long acknowledged the importance of the past to medieval conceptions of the present. This volume brings art history and music into dialogue with historical studies. The essays draw out the strategies shared by these fields in the realm of historical representation. How was the creative representation of past practices--in illuminated manuscripts, monumental sculpture, and architecture, as well as in musical notation, motet composition, and performance--understood as both a historical and historicizing act? What kinds of relationships did composers, patrons, chroniclers, and musicians entertain with their predecessors? Historical studies have shown how chroniclers and annalists rewrote tradition while self-consciously writing themselves into it; the essays in this volume explore such strategies in art and music.
The contributors are Jaume Aurell, Jeffrey A. Bowman, Susan Boynton, Ardis Butterfield, Margot Fassler, Patrick J. Geary, Lindy Grant, James Grier, Cynthia Hahn, Joan A. Holladay, Laurent Morelle, Lawrence Nees, Susan Reynolds, Gabrielle M. Spiegel, and Christine B. Verzar.
About the Author
Robert A. Maxwell is Associate Professor of Art History at the University of Pennsylvania. His previous book The Art of Medieval Urbanism: Parthenay in Romanesque Aquitaine was published by Penn State Press in 2007.