Music, art and performance from Liszt to Riot Grrrl : the musicalizaton of art /

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Includes bibliographical references and index.Introduction -- A Work in Two Parts: Continuities and Discontinuities from Romanticism to Postmodernism / Diane V. Silverthorne -- Prelude -- The Musical in Art / Jed Rasula -- Romantic Musical Celebrity and Printed Portraits: Visual Intimacy and Mass-Market Distance / Alan Davison -- Making an Entrance: Manet's Still Life with Hat and Guitar / Therese Dolan -- Time in Fin-de-Siècle Painting / Anne Leonard -- Erik Satie and the Interart Genre / Ann-Marie Hanlon -- The "Figure in the Carpet": M. K. Ciurlionis and the synthesis of the arts / Spyros Petritakis -- Music, sound and light: Embodied experiences of the modernist and postmodern Gesamtkunstwerk / Diane V. Silverthorne -- Squaring the Circle: Wilfred's Lumia and his rejection of "colour music" / Nick Lambert -- In concert: The emergence of the audio-visual moment in minimalism / Meredith Mowder -- Riffing the Index: Romare Bearden and the Hand of Jazz / Nikki A. Greene -- The Politics of Music and Image in Contemporary Iranian art: "the impossibility of putting one's body and voice on a stage" / Kirstie Imber -- Contemporary Feminist Art, the Musical: Listening to the Visual Legacy of Riot Grrrl / Cara Smulevitz -- Postlude / Diane V. Silverthorne and Alan Davison."Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the "isms" of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated."--Publisher description.