Session d’approfondissement dans la connaissance et l’exécution du chant grégorien.
L’esprit de prière, âme du chant grégorien, est l’objet premier de cette session.
Thèmes abordés :
– l’unité et la clarté du chant choral
– l’art du rythme
– la modalité
– la sémiologie
– la (re)découverte de pièces inconnues du répertoire.

La session s’adresse à tous les hommes ou jeunes gens (dont la voix a mué), désireux de travailler à la gloire du Bon Dieu dans le chant grégorien, partie intégrante de la liturgie.
Nous travaillerons particulièrement cette année l’inclusion des jeunes voix dans les chorales, la consolidation des chorales existantes et l’approfondissement chez les anciens.

Notre référence est ce qu’il est convenu de nommer la méthode de Solesmes, élaborée sous l’impulsion de Dom Guéranger, mise en œuvre par Dom Mocquereau et Dom Gajard, appuyée par saint Pie X.

Inscription ici

On 5–9 July 2021, the FCSH–School of Social Sciences and Humanities at Universidade NOVA de Lisboa will host the 49th edition of the Medieval and Renaissance International Music Conference – MedRen 2021 Lisbon – which is to be organised by CESEM–Centre for the Study of the Sociology
and Aesthetics of Music.

MedRen 2021 Lisbon will be a mixed in-person–online event, offering three options to speakers: present in-person; pre-record but participate in a live discussion; both present and participate in a discussion live but remotely.

All proposals should be written in English and submitted via the conference website
(https://medren2021lisbon.hcommons.org/).

Deadline: 23 January 2021

Chers mélomanes, initiés ou amateurs de plain chant, 

Voici un événement susceptible d'accompagner cette période qui voit poindre un peu de lumière après plusieurs mois de confinement... Bienvenue à Sylvanès, dans l'attente de vous retrouver lors de cette fête de Pentecôte !

Jean-Fr. Goudesenne

https://sylvanes.com/2021/02/12/colloque-de-la-pentecote/?utm_source=INFORMATION&utm_medium=EMAIL&utm_campaign=SYL%2B7%2B-%2BRencontres%2Bspirituelles%2B2021 

Worldwide Music Conference (WWMC) brings together scientists from various fields (music theory, biology, psychology, ethnography, anthropology, paleography, mathematics, acoustics, and others) to make their achievements in music studies available to the entire music research community, to help them find connections for further research and spread their discoveries.

The WWMC 2021 Call for Papers includes miscellaneous topics, among them:

♫ Theoretical concepts of music in general and its individual aspects

♫ Music from the perspective of psychology and physiology

♫ Mathematical methods in music-theoretical research

♫ The diversity of forms of musical thinking in different cultures and different epochs

♫ Music technology from a scientific perspective

To find out more, to submit your abstract or full paper and register, visit the WWMC 2021 website: https://wwmc.io/

Our panelists will explore the role of women — as composers and as performers — in sacred Western and Eastern chant from ancient times to the present day, including music by Kassianí (Kassía) and Hildegard of Bingen. This is a history often marginalized or even disregarded in general histories of Christianity, yet it has been — and continues to be — important to the continuing vitality of sacred music as an art form and as a crucial mode of religious expression.

Click here to register, and join us for an animated discussion!

This will be recorded and posted here following the live discussion.

What: Celebrating Cappella Romana’s release of Hymns of Kassianí, the earliest music we have by a female composer. Susan Ashbrook Harvey (Brown Univ.) and Cappella Romana music director Alexander Lingas host a discussion with Photini Downie Robinson (Cappella Romana), Sevi Mazera-Mamali (ADOUSAI Byzantine Women’s Choir, Volos, Greece), and Anna Song (In Mulieribus). In collaboration with City, Univer

Gianni Belluscio, my dear linguistic partner doing fieldwork at Arbëresh communities, has died on Easter morning last year. His wife Giusi who was very ill, died three days later. He had the finest ears for Albanian language to document and understand the differences between the villages. Due to his worldwide reputation he was officially asked to estimate the current state of Arbëresh language from an insider perspective and to correct wrongly estimated numbers of active speakers based on administrational population statistics.

Doing fieldwork with Gianni at San Cosmo Albanese (Strigàri) on the patronal feast Saint Cosma and Damian (27 September 2012)

I Cantori di San Basile (Gianni Belluscio, Alberto Bellizzi, Samuel Bellizzi) while rehearsing at San Basile for the Berlin tournee, we got some interested young visitors

Informing the public about a dramatic decline of language diversity worldwide (together with Mandana Seyfeddinipur, Elisabeth Verhoeven and Tom Güldemann) 

After Giovan Batt

Concerto per violoncello e archi in Sol maggiore di Nicola Antonio Porpora

Un appuntamento doppio il 21 marzo per Fondazione Pietà de’ turchini in occasione della Giornata Europea della Musica Antica.

Alle ore 17.30 Il Concerto per violoncello e archi in Sol maggiore di Nicola Antonio Porpora, tra i migliori esempi del ridotto corpus di musica strumentale del maestro, uniformemente caratterizzato da alta o altissima qualità:

I-Adagio

II-Allegro

III-Adagio

IV-Allegro

Al violoncello, Catherine Jones con Talenti Vulcanici – ensemble della Pietà de’ Turchini diretta da Stefano Demicheli

In Live streaming sulla piattaforma della Fondazione Pietà de’ Turchini turchini.it/live

Early Music Day

«Sublime ingegno» L'arte di Josquin Desprez

Ensemble «De labyrintho» con i tenori dell' Ensemble InCanto di Partenope

Live from the Chiesa di Santa Caterina da Siena (Naples)

Organised by the Fondazione Pietà de' Turchini

IX Edizione della Giornata europea della Musica Antica (Early Music Day)

Live-stream should be started in the frame, otherwise try the link of the event

Recrutements_musico_2020_fr.pdf

2 researchers will be recruited by the CNRS-IRHT, based in Paris (Aubervilliers) and Orléans,

from March 2021 till March 2022, part-time (30 %) for the program

Remembratio codicum. The purpose is the reconstruction of scattered and fragmented medieval manuscript books (liturgical chant, music). supervised by Jean-François Goudesenne (from the musicology department / Pôle Quadrivium)

1. Engineer specialised in databases and web development, familiar with Latin texts and medieval musicology

https://emploi.cnrs.fr/Offres/CDD/UPR841-JEAGOU-001/Default.aspx

2. Researcher, specialised in codicology and musical paleography (mainly plainchant)

https://emploi.cnrs.fr/Offres/CDD/UPR841-JEAGOU-002/Default.aspx

DEADLINE 8th january 2021

Informations, questions : musicologie@cnrs-orleans.fr

The Workshop will take place on Zoom on Wednesday 11 November 2020, 4-6PM CET.

This Workshop is organized around the preparation of the forthcoming book ‘Scriptor, Cantor & Notator: The Materiality of Sound in Chant Manuscripts’, to be published by Brepols in the series ‘Musicalia Antiquitatis & Medii Aevi’ (MUSAM). The three editors (Elsa De Luca, Jean-François Goudesenne, Ivan Moody) invited all the contributors to a virtual round table in order to discuss the ideas, contents, methodologies and manuscripts studied in the book.

‘Scriptor, Cantor & Notator: The Materiality of Sound in Chant Manuscripts’ aims to showcase the most recent advances and trends in studies of music palaeography and techniques of preparing modern editions of early music, with a primary focus on liturgical chant. The object of this palaeographical and musical investigation is the tradition of Christian “plainchant” in Western Europe and the Byzantine world through the Middle Ages and beyond. By presenting several

APPEL À COMMUNICATION Colloque « Transmettre la musique ». Colloque international organisé par la BSG, la BnF et l’IReMus, les 1-2 oct. 2020

Depuis 2016, un ambitieux programme de numérisation réunit la BnF, la Mazarine et Ste-Geneviève pour un vaste corpus de plus de mille documents du 11e au 20e s. consacrés à la musique et incluant des partitions manuscrites et imprimées, des récits, des essais théoriques et critiques, manuels pédagogiques. Les fonds musicaux de Ste-Geneviève excèdent toutefois largement ce corpus numérisé déjà très riche. Afin de mettre en valeur ces collections exceptionnelles, la bibliothèque place l’année 2020 sous le thème de la musique et proposera plusieurs événements dont ce colloque, un des moments les plus importants. La thématique « Transmettre la musique » sera l’occasion de reprendre des travaux sur la constitution des fonds musicaux en bibliothèques, à travers notamment les exemples du dép. de la Musique de la BnF et de la BSG, parmi les plus précieux ;

Journées d'Études de Paléographie Musicale

Tabula notarum

11 et 12 septembre 2020
Centre Culturel Saint Thomas, 2 rue de la Carpe Haute 67000 Strasbourg

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Inscription / Registration

Bulletin d'inscription à télécharger en word

Ce bulletin est individuel et à retourner au plus tard le 16 août 2020 à domgatte@gmail.com

Télécharger le programme

Suivre l'actualité des Journées d'Études 2020 sur Facebook :
https://www.facebook.com/events/733572380810840/

Journée d'Études de Paléographie Musicale

Tabula notarum

Strasbourg - 11 et 12 septembre 2020

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En partenariat avec le Festival Voix et Route Romane, l'AISCGre et Neumz

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Journées d'Études de Paléographie Musicale 2020 (Inscription/programme)

Inscription / Registration

Ce bulletin est individuel et à retourner au plus tard le 16 août 2020 à domgatte@gmail.com

Bulletin d'inscription à télécharger en word

Télécharger le programme

Suivre l'actualité des Journées d'Études 2020 sur Facebook :
https://www.facebook.com/events/733572380810840/

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Ces journées recevront des communications qui traiteront de la cartographie des familles de notation ainsi que de leurs noms, en prenant en compte la chronologie, la géographie avec l’expansion des familles et parfois même l’impossibilité d’assigner des frontières strictes ou de classer des sources dans des types déterminés, compte

9th International Course on Medieval Music Performance (Besalú/Lleida 2020)

Paris 1100-1350: Secular and Sacred Music from the Most Vibrant and Sophisticated City of the Middle Ages

Between the 12th and the 14th centuries the city of Paris became one of the most emblematic and awe-inspiring places in the Medieval West. The great thinkers and teachers of the time gathered around its university, merchants and their trade strengthened an ever-growing economy, and the new Cathedral of Notre Dame became a centre of outstanding artistic development.

Paris’ growth prompted an extraordinary musical progress: the music of the Church was embellished by the most magnificent polyphony (organum and conductus), the monophonic song in Latin and French (clerical and trouvère) became an unprecedented vehicle for religious and secular expression, the intricate polytextual motet was created for the entertainment of intellectuals, and instrumental and dance music grew more complexed and was heard in every co

Performance Practice and Sound Production at the Core of Medieval Music Research

The study of medieval music has a long and established tradition in the field of musicology. Most of the work conducted through the years focuses on the study of manuscripts, repertoires, genres, poetic and musical forms, and composers. Yet, performance practice and sound production are still insufficiently studied at large and even seen with some apprehension. This seems rather incongruous since medieval music with all its compositional elements, its registers, and its preservation in written form was above all conceived as an experience for the ear. The act of performance made this possible, and in that evanescent moment the sacred and secular repertoires of medieval music were articulated and directly disseminated. Thus, performance and sound should undoubtedly be placed at the center of medieval music research since its own foundation and essence are directly connected to them. Fortunately, this realiza