Intermedial Afterlives of the Arma Christi in Orlando Gibbons's 'See, See the Word is Incarnate'.
We propose that Orlando Gibbons's consort anthem 'See, See the Word is Incarnate' is linked to a wider phenomenon in visual culture surrounding the imagery of the instruments of Christ's Passion, the arma Christi. Taking a bold interdisciplinary approach, we use close reading to show how this visual...
| Publicado en: | Music & Letters Vol. 107; no. 2; pp. 177 - 208 |
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| Autores principales: | , |
| Formato: | Artículo |
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Oxford University Press / USA
May2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=194636988&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 194636988 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00274224 MUL jtl: Music & Letters issn: 00274224 maglogo: N pubinfo: dt: May2026 vid: 107 iid: 2 pid: 622 pub: Oxford University Press / USA artinfo: ui: 194636988 10.1093/ml/gcaf180 ppf: 177 ppct: 31 formats: tig: atl: Intermedial Afterlives of the Arma Christi in Orlando Gibbons's 'See, See the Word is Incarnate'. aug: au: Bank, Katie Gillhammer, Cosima Clara su: Visual culture Sacred music Interdisciplinary research Crosses Composers Sacred vocal music Reformation British history England sug: subj: England Visual culture Sacred music Interdisciplinary research Crosses Composers Sacred vocal music Reformation British history ab: We propose that Orlando Gibbons's consort anthem 'See, See the Word is Incarnate' is linked to a wider phenomenon in visual culture surrounding the imagery of the instruments of Christ's Passion, the arma Christi. Taking a bold interdisciplinary approach, we use close reading to show how this visual tradition manifested in intermedial ways. This case study is indicative of a type of exchange between art forms that was fundamental to English artistic practice and devotional experience. Our analysis connects this music to the Passion's long history with sight, exploring broader contexts for Gibbons's invocation to 'see'. We view this song as an experiment in musical intermediality, exemplifying the fluidity between the visual, textual, and musical practices of early modern England. It expands current understanding of the piece's connections to contemporary visual culture, while examining music's potential as a potent act of extraordinary meditation within England's complex post-Reformation confessional landscape. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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