Yet, despite their quotidian familiarity, parish churches have not, by and large, been treated consistently or systematically as deserving of the attention of art historical study. The ten diverse essays contained within this open-access volume explore the art and architecture of parish churches through a variety of lenses, methodologies, and perspectives, ranging from (re)considerations of the very definition of the parish church to phenomenological explorations of their component parts, as well as case studies of their decorative schemes. This talk will be followed by a drinks reception and the launch of the recent Courtauld Books Online publication Towards An Art History Of The Parish Church, 1200–1399, edited by Meg Bernstein.Įstimated at numbering between eight and nine thousand, parish churches containing at least some medieval building fabric are ubiquitous in the English landscape. Espacio, arquitectura, música y función en los monasterios de Císter en la Corona de Aragón (2020) and Respondámosle a concierto: estudios en homenaje a Maricarmen Gómez Muntané (2020). Historia viva de un espacio arquitectónico (2019) and two co-edited books, Aragonia Cisterciensis. Recent books include La catedral habitada. His many publications have addressed the history (and historiography) of art and architecture of medieval Iberia and beyond, with a particular focus on function and liturgy.
This talk reflects on the need to consider what role historical knowledge of architecture should play in the study of architectural soundscapes.Įduardo Carrero Santamaria is titular professor in the Departament d’Art i Musicologia at the Universitat Autònoma de Barcelona (UAB) and visiting professor at the University of Bristol. The sonic image of a medieval building cannot be understood simply by projecting the desired sound from a computer onto a virtual sound model of the building, and any analysis must be clear about the differences between buildings in their modern and historical states. Indeed, for the Middle Ages it has been argued that we should think instead about more complex ‘sonic systems’ (or ‘sound systems’), that enrich study of historical acoustics with considerations of structures, hierarchies and boundaries. But though we may be capable of recreating sounds and settings in our own heads, it is much harder to translate these into virtual reality projects that seek both visual and sonic ‘authenticity’. In the humanities – and especially the so-called digital humanities – the study of sound and music in original settings has become an academic field in its own right under the umbrella of ‘soundscape’ studies.
Trying to Listen to Medieval Architecture: Between Audiences and Settings
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