Abstract

This essay is about ekphrasis and the possibility of musical ekphrasis in particular. It shows how ekphrasis came to be bound up with the contest of the arts. By juxtaposing an ancient, description-based view of ekphrasis with a modern work-to-work view, we are led to see the many productive ways in which ekphrasis has engaged the arts, including music, without assuming hard and fast distinctions of medium between the different arts.