Cover -- Half Title -- Title Page -- Copyright Page -- Table of Contents -- List of figures -- List of contributors -- Acknowledgments -- Introduction -- 1 Aural architecture in Jerusalem, Rome, Constantinople, and Alexandria -- 2 The great outdoors: liturgical encounters with the early medieval Armenian church -- 3 Byzantine chant notation: written documents in an aural tradition -- 4 Understanding liturgy: the Byzantine liturgical commentaries -- 5 Christ's all-seeing eye in the dome -- 6 Transfigured: mosaic and liturgy at Nea Moni -- 7 We who musically represent the cherubim -- 8 Spatiality, embodiment, and agency in ekphraseis of church buildings -- 9 Acoustics of Hagia Sophia: a scientific approach to the humanities and sacred space -- 10 Live auralization of Cappella Romana at the Bing Concert Hall, Stanford University -- Glossary -- Bibliography -- Index

Icons of Sound: Voice, Architecture, and Imagination in Medieval Art brings together art history and sound studies to offer new perspectives on medieval churches and cathedrals as spaces where the perception of the visual is inherently shaped by sound. The chapters encompass a wide geographic and historical range, from the fifth to the fifteenth century, and from Armenia and Byzantium to Venice, Rome, and Santiago de Compostela. Contributors offer nuanced explorations of the intangible sonic aura produced in these places by the ritual music and harness the use of digital technology to reconstruct historical aural environments. Rooted in a decade-long interdisciplinary research project at Stanford University, Icons of Sound expands our understanding of the inherently intertwined relationship between medieval chant and liturgy, the acoustics of architectural spaces, and their visual aesthetics. Together, the contributors provide insights that are relevant across art history, sound studies, musicology, and medieval studies.

Tracing the Gospel text from script to illustration to recitation, this study looks at how illuminated manuscripts operated within ritual and architecture. Focusing on a group of richly illuminated lectionaries from the late eleventh century, the book articulates how the process of textual recitation produced marginalia and miniatures that reflected and subverted the manner in which the Gospel was read and simultaneously imagined by readers and listeners alike. This unique approach to manuscript illumination points to images that slowly unfolded in the mind of its listeners as they imagined the text being recited, as meaning carefully changed and built as the text proceeded. By examining this process within specific acoustic architectural spaces and the sonic conditions of medieval chant, the volume brings together the concerns of sound studies, liturgical studies, and art history to demonstrate how images, texts, and recitations played with the environment of the Middle Byzantine church.

Emotions in Byzantium came to life through hymnody, which invited the faithful to step into a liturgical world of compunction.

Icons of Sound: Voice, Architecture, and Imagination in Medieval Art brings together art history and sound studies to offer new perspectives on medieval churches and cathedrals as spaces where the perception of the visual is inherently shaped by sound. The chapters encompass a wide geographic and historical range, from the fifth to the fifteenth century, and from Armenia and Byzantium to Venice, Rome, and Santiago de Compostela. Contributors offer nuanced explorations of the intangible sonic aura produced in these places by the ritual music and harness the use of digital technology to reconstruct historical aural environments. Rooted in a decade-long interdisciplinary research project at Stanford University, Icons of Sound expands our understanding of the inherently intertwined relationship between medieval chant and liturgy, the acoustics of architectural spaces, and their visual aesthetics. Together, the contributors provide insights that are relevant across art history, sound studies, musicology, and medieval studies.

In Building the Body of Christ, Daniel C. Cochran argues that monumental Christian art and architecture played a crucial role in the formation of individual and communal identities in late antique Italy. The ecclesiastical buildings and artistic programs that emerged during the fourth and fifth centuries not only reflected Christianity’s changing status within the Roman Empire but also actively shaped those who used them. Emphasizing the importance of materiality and the body in early Christian thought and practice, Cochran shows how bishops and their supporters employed the visual arts to present a Christian identity rooted in the sacred past but expressed in the present through church unity and episcopal authority. He weaves together archaeological and textual evidence to contextualize case studies from Rome, Aquileia, and Ravenna, showing how these sites responded to the diversity of early Christianity as expressed through private rituals and the imperial appropriation of the saints. Cochran shows how these early ecclesiastical buildings and artistic programs worked in conjunction with the liturgy to persuade individuals to adopt alternative beliefs, practices, and values that contributed to the formation of institutional Christianity and the “Christianization” of late antique Italy.

Light has a fundamental role to play in our perception of the world. Natural or artificial lightscapes orchestrate uses and experiences of space and, in turn, influence how people construct and negotiate their identities, form social relationships, and attribute meaning to (im)material practices. Archaeological practice seeks to analyse the material culture of past societies by examining the interaction between people, things, and spaces. As light is a crucial factor that mediates these relationships, understanding its principles and addressing illumination's impact on sensory experience and perception should be a fundamental pursuit in archaeology. However, in archaeological reasoning, studies of lightscapes have remained largely neglected and understudied. This volume provides a comprehensive and accessible consideration of light in archaeology and beyond by including dedicated and fully illustrated chapters covering diverse aspects of illumination in different spatial and temporal contexts, from prehistory to the present. Written by leading international scholars, it interrogates the qualities and affordances of light in different contexts and (im)material environments, explores its manipulation, and problematises its elusive properties. The result is a synthesis of invaluable insights into sensory experience and perception, demonstrating illumination's vital impact on social, cultural, and artistic contexts.