Table Of ContentTHE ARTS ENTWINED
CRITICAL AND CULTURAL MUSICOLOGY
VOLUME 2
GARLAND REFERENCE LIBRARY OF THE HUMANITIES
VOLUME 2099
CRITICAL AND CULTURAL MUSICOLOGY
MARTHA FELDMAN, Series Editor
Associate Professor of Music
University of Chicago
ADVISORY BOARD
Kofi Agawu, Ruth Solie, Gary Tomlinson, Leo Treitler
Music AND THE CULTURES OF PRINT
edited by Kate van Orden
THE ARTS ENTWINED
Music and Painting in the Nineteenth Century
edited by Marsha L. Morton and Peter L. Schmunk
THE ARTS
ENTWINED
MUSIC AND PAINTING
IN THE NINETEENTH CENTURY
EDITED BY
MARSHA L. MORTON AND PETER L. SCHMUNK
I~ ~~o~;~~n~~~up
New York London
First Published in 2000 by
Garland Publishing, Inc.
A member of the Taylor & Francis Group
19 Union Square West
New York, NY 10003
This edition published 2011 by Routledge:
Routledge Routledge
Taylor & Francis Group Taylor & Francis Group
711 Third Avenue 2 Park Square, Milton Park
New York, NY 10017 Abingdon, Oxon OX14 4RN
Copyright © 2000 by Marsha L. Morton and Peter L. Schmunk
All rights reserved. No part of this book may be reprinted or reproduced
or utilized in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and
recording, or in any information storage or retrieval system, without
permission in writing from the publisher.
Library of Congress Cataloging-in-Publication Data
The arts entwined: music and painting in the nineteenth century I
edited by Marsha L. Morton and Peter L. Schmunk.
p. cm. - (Garland reference library of the humanities;
v. 2099. Critical and cultural musicology; v. 2)
Includes index.
ISBN 0-8153-3156-8 (alk. paper)
1. Art and music. 2. Music-19th century-History and criticism.
3. Painting, Modem-19th century. l. Morton, Marsha.
II. Schmunk, Peter L. III. Series: Garland reference library of the
humanities; v. 2099. IV. Series: Garland reference library of the
humanities. Critical and cultural musicology; v. 2.
ML3849.A781999
700' .9'034-dc21 99-34397
CIP
Cover: Detail of Henri Fantin-Latour, Around the Piano, 1885, oil on canvas,
160 x 222 cm. Musee d'Orsay, Paris. Used by permission.
Contents
Series Editor's Foreword vii
Martha Feldman
CHAPTER 1 "From the Other Side": An Introduction 1
Marsha L. Morton
CHAPTER 2 The New Paragone: Paradoxes and Contradictions
of Pictorial Musicalism 23
Philippe Junod
CHAPTER 3 Seeing Music: Visuality in the Friendship
of Johann Wolfgang von Goethe
and Carl Friedrich Zelter 47
Stephanie Campbell
CHAPTER 4 Fingal's Cave and Ossian's Dream:
Music, Image, and Phantasmagoric Audition 63
Thomas S. Grey
CHAPTER 5 Painted Responses to Music:
The Landscapes of Corot and Monet 101
Kermit Swiler Champa
v
vi Contents
CHAPTER 6 In the Toils of Queen Omphale: Saint-Saëns's
Painterly Refiguration of the Symphonic Poem 119
Carlo Caballero
CHAPTER 7 Painting Around the Piano: Fantin-Latour,
Wagnerism, and the Musical in Art 143
Lisa Norris
CHAPTER 8 Van Gogh in Nuenen and Paris:
The Origins of a Musical Paradigm for Painting 177
Peter L. Schmunk
CHAPTER 9 Music to Our Ears?: Munch's Scream
and Romantic Music Theory 209
Elizabeth Prelinger
Contributors 227
Index 231
SERIES EDITOR'S FOREWORD
Critical and Cultural Musicology
MARTHA FELDMAN
Musicology has undergone a sea change in recent years. Where once the
discipline knew its limits, today its boundaries seem all but limitless. Its
subjects have expanded from the great composers, patronage, manu-
scripts, and genre formations to include race, sexuality, jazz, and rock; its
methods from textual criticism, formal analysis, paleography, narrative
history, and archival studies to deconstruction, narrativity, postcolonial
analysis, phenomenology, and performance studies. These categories
point to deeper shifts in the discipline that have led musicologists to ex-
plore phenomena that previously had little or no place in musicology.
Such shifts have changed our principles of evidence while urging new
understandings of existing ones. They have transformed prevailing no-
tions of musical texts, created new analytic strategies, recast our sense of
subjectivity, and produced new archives of data. In the process, they have
also destabilized canons of scholarly value.
The implications of these changes remain challenging in a field
whose intellectual ground has shifted so quickly. In response to them,
this series offers essay collections that give thematic focus to new critical
and cultural perspectives in musicology. Most of the essays contained
herein pursue their projects through sustained research on specific musi-
cal practices and contexts. They aim to put strategies of scholarship that
have developed recently in the discipline into meaningful exchanges
with one another while also helping to construct fresh approaches. At the
same time they try to reconcile these new approaches with older meth-
ods, building on the traditional achievements of musicology in helping to
forge new disciplinary idioms. In both ventures, volumes in this series
vii
viii Critical and Cultural Musicology
also attempt to press new associations among fields outside of musi-
cology, making aspects of what has often seemed an inaccessible field
intelligible to scholars in other disciplines.
In keeping with this agenda, topics treated in the series include
music and the cultures of print; music, art, and synesthesia in nineteenth-
century Europe; music in the African diaspora; relations between opera
and cinema; Marxism and music; and music in the cultural sensorium.
Through enterprises like these, the series hopes to facilitate new discipli-
nary directions and dialogues, challenging the boundaries of musicology
and helping to refine its critical and cultural methods.
THE ARTS ENTWINED
