Scholarly writing on the music of Arvo Part is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Part: Sounding the Sacred focuses on the representational dimensions of Part's music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Part studies? In taking up these questions, the book "de-Platonizes" Part studies by demystifying the notion of a single "Part sound." It offers innovative, critical analyses of the historical contexts of Part's experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Part's music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Part's music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Part studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.

Scholarly writing on the music of Arvo Part is situated primarily in the fields of musicology, cultural and media studies, and, more recently, in terms of theology/spirituality. Arvo Part: Sounding the Sacred focuses on the representational dimensions of Part's music (including the trope of silence), writing and listening past the fact that its storied effects and affects are carried first and foremost as vibrations through air, impressing themselves on the human body. In response, this ambitiously interdisciplinary volume asks: What of sound and materiality as embodiments of the sacred, as historically specific artifacts, and as elements of creation deeply linked to the human sensorium in Part studies? In taking up these questions, the book "de-Platonizes" Part studies by demystifying the notion of a single "Part sound." It offers innovative, critical analyses of the historical contexts of Part's experimentation, medievalism, and diverse creative work; it re-sounds the acoustic, theological, and representational grounds of silence in Part's music; it listens with critical openness to the intersections of theology, sacred texts, and spirituality in Part's music; and it positions sensing, performing bodies at the center of musical experience. Building on the conventional score-, biography-, and media-based approaches, this volume reframes Part studies around the materiality of sound, its sacredness, and its embodied resonances within secular spaces.

Whose Middle Ages? is an interdisciplinary collection of short, accessible essays intended for the nonspecialist reader and ideal for teaching at an undergraduate level. Each of twenty-two essays takes up an area where digging for meaning in the medieval past has brought something distorted back into the present: in our popular entertainment; in our news, our politics, and our propaganda; and in subtler ways that inform how we think about our histories, our countries, and ourselves. Each author looks to a history that has refused to remain past and uses the tools of the academy to read and re-read familiar stories, objects, symbols, and myths. Whose Middle Ages? gives nonspecialists access to the richness of our historical knowledge while debunking damaging misconceptions about the medieval past. Myths about the medieval period are especially beloved among the globally resurgent far right, from crusading emblems on the shields borne by alt-right demonstrators to the on-screen image of a purely white European populace defended from actors of color by Internet trolls. This collection attacks these myths directly by insisting that readers encounter the relics of the Middle Ages on their own terms. Each essay uses its author's academic research as a point of entry and takes care to explain how the author knows what she or he knows and what kinds of tools, bodies of evidence, and theoretical lenses allow scholars to write with certainty about elements of the past to a level of detail that might seem unattainable. By demystifying the methods of scholarly inquiry, Whose Middle Ages? serves as an antidote not only to the far right's errors of fact and interpretation but also to its assault on scholarship and expertise as valid means for the acquisition of knowledge.

Whose Middle Ages? is an interdisciplinary collection of short, accessible essays intended for the nonspecialist reader and ideal for teaching at an undergraduate level. Each of twenty-two essays takes up an area where digging for meaning in the medieval past has brought something distorted back into the present: in our popular entertainment; in our news, our politics, and our propaganda; and in subtler ways that inform how we think about our histories, our countries, and ourselves. Each author looks to a history that has refused to remain past and uses the tools of the academy to read and re-read familiar stories, objects, symbols, and myths. Whose Middle Ages? gives nonspecialists access to the richness of our historical knowledge while debunking damaging misconceptions about the medieval past. Myths about the medieval period are especially beloved among the globally resurgent far right, from crusading emblems on the shields borne by alt-right demonstrators to the on-screen image of a purely white European populace defended from actors of color by Internet trolls. This collection attacks these myths directly by insisting that readers encounter the relics of the Middle Ages on their own terms. Each essay uses its author’s academic research as a point of entry and takes care to explain how the author knows what she or he knows and what kinds of tools, bodies of evidence, and theoretical lenses allow scholars to write with certainty about elements of the past to a level of detail that might seem unattainable. By demystifying the methods of scholarly inquiry, Whose Middle Ages? serves as an antidote not only to the far right’s errors of fact and interpretation but also to its assault on scholarship and expertise as valid means for the acquisition of knowledge.