- http://www.sheffield.ac.uk/music/staff/academic/timshephard/index
Tim Shephard
The University of Sheffield, Music, Faculty Member
The chapters in this volume explore the relationship between music and art in Italy across the long sixteenth century, considering an era when music-making was both a subject of Italian painting and a central metaphor in treatises on the... more
The chapters in this volume explore the relationship between music and art in Italy across the long sixteenth century, considering an era when music-making was both a subject of Italian painting and a central metaphor in treatises on the arts. Beginning in the fifteenth century, transformations emerge in the depiction of music within visual arts, the conceptualization of music in ethics and poetics, and in the practice of musical harmony. This book brings together contributors from across musicology and art history to consider the trajectories of these changes and the connections between them, both in theory and in the practices of everyday life. In sixteen chapters, the contributors blend iconographic analysis with a wider range of approaches, investigate the discourse surrounding the arts, and draw on both social art history and the material turn in Renaissance studies. They address not only paintings and sculpture, but also a wide range of visual media and domestic objects, from instruments to tableware, to reveal a rich, varied, and sometimes tumultuous exchange among musical and visual arts and ideas. Enriching our understanding of the subtle intersections between visual, material, and musical arts across the long Renaissance, this book offers new insights for scholars of music, art, and cultural history.
Research Interests:
This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts—materials, tools, instruments,... more
This book collates 100 exhibits with accompanying essays as an imaginary museum dedicated to the musical cultures of Renaissance Europe, at home and in its global horizons. It is a history through artefacts—materials, tools, instruments, art objects, images, texts, and spaces—and their witness to the priorities and activities of people in the past as they addressed their world through music. The result is a history by collage, revealing overlapping musical practices and meanings—not only those of the elite, but reflecting the everyday cacophony of a diverse culture and its musics. Through the lens of its exhibits, this museum surveys music’s central role in culture and lived experience in fifteenth- and sixteenth-century Europe, offering interest and insights well beyond the strictly musicological field.
Research Interests:
Visual representations of music were ubiquitous in Renaissance Italy. Church interiors were enlivened by altarpieces representing biblical and heavenly musicians, placed in conjunction with the ritual song of the liturgy. The interior... more
Visual representations of music were ubiquitous in Renaissance Italy. Church interiors were enlivened by altarpieces representing biblical and heavenly musicians, placed in conjunction with the ritual song of the liturgy. The interior spaces of palaces and private houses, in which musical recreations were routine, were adorned with paintings depicting musical characters and myths of the ancient world, and with scenes of contemporary festivity in which music played a central role. Musical luminaries and dilettantes commissioned portraits symbolising their personal and social investment in musical expertise and skill. Such visual representations of music both reflected and sustained a musical culture. The strategies adopted by visual artists when depicting music in any guise betray period understandings of music shared by artists and their clients. At the same time, Renaissance Italians experienced music within a visual environment that prompted them to think about music in particular ways. This book offers the first detailed survey of the representation of music in the art of Renaissance Italy, and in the process opens up new vistas within the social and cultural history of Italian Renaissance music and art.
Research Interests: Music, Early Music, Music History, Musicology, Art History, and 15 moreItalian Studies, Renaissance Studies, Visual Culture, Renaissance Art, Cultural Musicology, History of Art, Italian Renaissance Art, Renaissance music, Iconography (Music), Historical Musicology, Fifteenth and Sixteenth century culture, Musical Iconography, Italian Renaissance, Renaissance Italy, and Sixteenth Century History
The papers included in this volume were presented, in much shorter form, at a conference entitled ‘Sources of Identity: Makers, Owners and Users of Music Sources Before 1600’ held at the University of Sheffield in 2013. The stated aim of... more
The papers included in this volume were presented, in much shorter form, at a conference entitled ‘Sources of Identity: Makers, Owners and Users of Music Sources Before 1600’ held at the University of Sheffield in 2013. The stated aim of the event was to leave aside the traditionally dominant view of early music sources as a means of access to medieval and Renaissance repertoires, focussing instead on the people who commissioned, made, owned and used music books, and on their reasons for so doing. In the terms proposed by a recent study of art patronage in the period, what was the ‘payoff’ enjoyed by individuals and groups who created and deployed such objects?
Research Interests: Music, Early Music, Music History, Musicology, Self and Identity, and 26 moreItalian Studies, Book History, History of the Book, Iberian Studies, Rare Books and Manuscripts, Identity (Culture), Cultural Musicology, Medieval England, Medieval France, Medieval Music, Printing History, Renaissance music, Book History (History), Manuscripts (Medieval Studies), Codicology of medieval manuscripts, France, England, Holy Roman Empire, Spain, Identity, Italy, Germany, Books, Historical Musicology, Musical sources, and Late medieval and Renaissance music
Anne Leonard & Tim Shephard, 'Introduction' Amy Gillette, 'Depicting the sound of silence: angels’ music and “angelization” in medieval sacred art' Anne Leonard, 'To themselves: music in the art of Henri Fantin-Latour and Odilon Redon'... more
Anne Leonard & Tim Shephard, 'Introduction'
Amy Gillette, 'Depicting the sound of silence: angels’ music and “angelization” in medieval sacred art'
Anne Leonard, 'To themselves: music in the art of Henri Fantin-Latour and Odilon Redon'
Suzanne Singletary, 'Wagner versus Wagnerism: the case of the Gesamtkunstwerk or will the real Wagner please stand up'
Emily Fi. Gephart, 'In search of pictorial music: synaesthesia and embodied experience in Arthur B. Davies’s murals for Lillie Bliss'
Melissa L. Mednicov, 'How to hear a painting: looking and listening to Pop art'
Amy Gillette, 'Depicting the sound of silence: angels’ music and “angelization” in medieval sacred art'
Anne Leonard, 'To themselves: music in the art of Henri Fantin-Latour and Odilon Redon'
Suzanne Singletary, 'Wagner versus Wagnerism: the case of the Gesamtkunstwerk or will the real Wagner please stand up'
Emily Fi. Gephart, 'In search of pictorial music: synaesthesia and embodied experience in Arthur B. Davies’s murals for Lillie Bliss'
Melissa L. Mednicov, 'How to hear a painting: looking and listening to Pop art'
Research Interests:
The private studioli of Italian rulers are among the most revealing interior spaces of the Renaissance. In them, ideals of sober recreation met with leisured reality in the construction of a private princely identity performed before the... more
The private studioli of Italian rulers are among the most revealing interior spaces of the Renaissance. In them, ideals of sober recreation met with leisured reality in the construction of a private princely identity performed before the eyes of a select public. The decorative schemes installed in such rooms were carefully designed to prompt, facilitate and validate the performances through which that identity was constituted. Echoing Helicon reconstructs, through the (re)interpretation of painted and intarsia decoration, the role played by music, musicians and musical symbolism in those performances. Drawing examples from the Este dynasty - despotic rulers of Ferrara throughout the Renaissance who employed such musicians as Pietrobono, Tromboncino and Willaert, and such artists as Tura, Mantegna and Titian - author Tim Shephard reaches new conclusions about the integration of musical and visual arts within the courtly environment of renaissance Italy, and about the cultural work required of music and of images by those who paid for them.