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Any material object, if set in motion, may produce vibrations and, depending on their frequency, sounds perceptible to the human ear. The proposed framework of Sounding Objects encompasses not just instruments, artworks, and artifacts but also material and cognitive realms related to sound. Rhythm and resonance, as phenomena with a bearing on intersensory experience as well as intellectual reflection, become concepts through which to explore the physical-acoustic and metaphorical dimensions of such objects and spaces. Focusing on the Middle Ages, the contributions take a variety of approaches to the topic – from auditory imagination to performance via images, texts, bodies, and even silence. They incorporate multimedia content as a valuable opportunity for the emerging fields of Sound Studies and Object Studies in Art History.
- A new conceptual framework for “Sounding Objects”
- An innovative methodological approach at the intersection of Sound Studies, Object Studies, and Art History
- Diverse perspectives on sonic practices in the Middle Ages
Philippe Cordez is deputy director of Museum Studies and Research Support at the Musée du Louvre, an associate member of the École du Louvre’s Research Center, and an honorary professor at the University of Bamberg. His research focuses primarily on the Middle Ages and their reception, and art-historical object studies.
Rebecca Müller is a professor of medieval art history at Heidelberg University. Her research focuses on the reception of antiquity, concepts of the artist, goldsmithing, and objects in transcultural dynamics.
Joanna Olchawa is a professor of medieval art history at Ludwig Maximilian University, Munich. She is leading the DFG project on “Sound Art History”, and conducts research on transreligiosity, the senses, and the sonic dimensions of medieval art.