Limoges Bibliothèque municipale Ms 0002 (17)
Graduel de Fontevrault XIIIème S.
http://www.bm-limoges.fr/documents/graduel/fonds.html?PHPSESSID=68c8904a4fbcb74e4b890f14cb9c9748
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The Lugo Codex project is an online digital photographic facsimile of the The Lugo Codex. Also known as the Lugo Missal or Lugo Breviary, this is a bound manuscript conserved in the Cathedral of Saint Mary in Lugo, Spain. The present project will make the Codex available to researchers and performers via the World Wide Web, and includes an indexed, searchable database to aid research and website navigation.
le liber sacramentorum du Card Schuster en neuf tomes, en ligne,
dans la bibliothèque numérique de Liberius.
http://www.liberius.net/auteur.php?id_auth=33
Aux origines de la liturgie dominicaine : le manuscrit Santa Sabina XIV L 1
Michel Huglo
Comparaison du 'Prototype' du couvent Saint-Jacques de Paris avec l'exemplaire personnel du maître de l'Ordre des Prêcheurs (Londres, British Library, Add. ms 23935)
Monographies Grégoriennes
Simples notes théoriques et partique sur l'Edition Vaticane
Dom André Mocquereau
I. L'Introit "In medio"
Dom André Mocquereau
II. Verset Alléluiatique "Ostende nobis"
Dom André Mocquereau
III. Le chant "Autentique" du Credo
Dom André Mocquereau et Dom Joseph Gajard
IV. La tradition rythmique dans les manuscrits
Bruxelles Bibliothèque Royale Albert 1er
À l’origine, ce chansonnier, d’un grand intérêt pour la connaissance de la musique polyphonique du XVIe siècle, comportait quatre parties distinctes : un Superius, un Altus, un Tenor et un Bassus. Le Bruxellensis IV 1274 constitue l’Altus et le Bruxellensis IV 90 forme le Superius. Il comporte vingt-deux chants à trois ou quatre voix, attribués notamment à Josquin des Prés, Johannes Ockeghem, Alexander Agricola et Pierre de la Rue. Les thèmes abordés traitent de l’amour, de la passion, de l’infidélité, de la tristesse, mais aussi de sujets religieux. Des miniatures de style dit ganto-brugeois accompagnent les chansons. Il est probable que l’utilisation de ce type de chansonnier soit liée à l’entourage de la duchesse de Bourgogne, Marguerite d’Autriche (1480-1530). Restaurée au XXe siècle, la reliure du manuscrit IV 1274 est l’œuvre de Ludovicus Bloc, un artisan brugeois dont l’activité est attestée entre 1484 et 1529.
Bernard Bousmanne
Source :
http://belgica.kbr.be/fr/coll/ms/msIV1274_fr.html
Philomusica
Giacomo Baroffio
Abstract (Frammenti di ricerca III)
In alcuni graduali d’origine piemontese sono presenti segmenti tropistici nell’introito Ad te levavi (riproduzione fotografica da tre mss). Sono inoltre pubblicati i testi di nuovi testimoni della notazione ravennate scoperti a Parma, Ravenna e Rimini. Sono infine segnalate alcune antifone della liturgia delle ore il cui testo è derivato dai salmi. Esempi musicali sono tratti dal breviario di San Michele della Chiusa (Sant’Ambrogio TO, Archivio parrocchiale) e dal salterio di San Tommaso (Mantova, Archivio storico diocesano).
Frammenti di ricerche I (1-9)
http://riviste.paviauniversitypress.it/index.php/phi/article/view/04-01-SG01/22
Frammenti di ricerche II (10–19)
http://riviste.paviauniversitypress.it/index.php/phi/article/view/05-01-SG01/54
Frammenti di ricerca III (20–22)
http://riviste.paviauniversitypress.it/index.php/phi/article/view/06-01-SG02/99
Tableau comparatif des lectionnaires Gallicans étudiés par Dom Pierre Salmon dans :
"Le Lectionnaire de Luxeuil"
Liste des lectionnaire :
Lux Le Lectionnaire de Luxeuil. Paris ms. lat. 9427. 6ème siècle.
B Paris B N lat. 13246, Missel de Bobbio. 7ème-8ème siècle.
W Wolfenbüttel Wissemb. 76, Lectionnaire. 5ème-6ème siècle.
S Sélestat 1093, Lectionnaire. 7ème-8ème siècle.
S2 Sélestat 1093, fragm. d'Épistolier. 8ème siècle.
M Clm. 6229, Épîtres de S. Paul. 8ème siècle.
V Vatican lat. 5755, Épîtres de S. Paul et list de péricopes. 7ème siècle.
A Montpellier Bibl. municip. 6, Lectionnaire d'Aniane. 8ème-9ème siècle.
T Trèves Bibl. cap. 134, Évangiles, notes marg. 8ème siècle.
K Würzburg Mp. th. q. Ia, Évangiles, notes marg. 7ème-8ème siècle.
P Paris B N lat. 256, Évangiles. 7ème siècle.
X Paris B N 10863, fragm. de Lectionnaire. 6ème-7ème siècle
http://www.bombaxo.com/gallican.html
Voilà! Il y a quelqu'un avec talent qui aime les présentations de flash.
Peut-être utile pour tous les professeurs qui doivent enseigner l'histoire de la musique.
Regardez:
Davide Daolmi (Universitá degli Studi di Milano):
‘Temporum stirpis musica - Storia della Musica medioevale e rinascimentale’
http://www.examenapium.it/meri/
C'est bien fait.
Acta Musicologica
http://acta.musicologica.cz/index.html
De Musica
Oriscusneumen in vier der ältesten bekannten Handschriften des Antiphonale unter besonderer Berücksichtigung des Breviariums Leipzig Rep. I 93
Von
Bernhard Gröbler
http://www.db-thueringen.de/servlets/DocumentServlet?id=15549
Zur Virga strata in den Antiphonen des Officium
Von
Bernhard Gröbler
http://www.db-thueringen.de/servlets/DocumentServlet?id=15283
Otra propuesta de interpretación del canto gregoriano. Cantan la misa dominical en la abadía du Thoronet (PACA). En junio de 2010, presentarán el fruto de su trabajo en CD: Les grands offertoires grégoriens, Aux sources du chant sacré.
Une autre proposition d'interprétation du chant grégorien. Ils chantent la messe tous les dimanches à l'abbaye du Thoronet (PACA). En juin 2010, apparaîtra le fruit de leur travail en CD: Les grands offertoires grégoriens, Aux sources du chant sacré.
Para conocerlos mejor / Pour mieux les connaître:
http://chantgregorien.over-blog.com/pages/Les_Chantres_du_Thoronet-2960985.html
http://chantgregorien.over-blog.com/pages/famille_chretienne_Le_gregorien_selon_Damien_Poisblaud-1729275.html
Para escucharlos / Des extraits à écouter:
http://www.myspace.com/leschantresduthoronet
Para verlos / Pour les voir:
http://www.dailymotion.com/video/k5N54gTlbEoaBySYSB
http://www.dailymotion.com/video/k5QYUSumLxZbHPYQ2F?start=1
CD:
http://chantgregorien.over-blog.com/pages/Enregistrements_a_commander-1728968.html
Our vocal ensemble Gregoriana recorded first CD.
Read more on our webpage:
http://gregoriana.sk/index.php/2010/04/in-illo-tempore-tempus-adventus/
Je voudrais annoncer que j'ai installé un nouvel réseau chez Ning pour les traditions vivantes et l'histoire des nombreux traditions méditerranéenes (entre l'Andalusia et la Turquie aujourd'hui). Ce réseau est préparé pour un dialogue entre les ethnologues, les musiciens et les historiens intéressés dans ces sujets.
Vous êtes invités à s'inscrire.
I am glad to announce that Klankbord - Newsletter for Ancient and Medieval Music - no. 8, has been published.
Click www.klankbordsite.nl to visit our website.
Enjoy reading!
Las órdenes religiosas y la introducción del Rito Romano en la Iglesia de Toledo, Juan Pablo Rubio Sadia (OSB), Kadmos, Salamanca, 2004
Un reciente trabajo de investigación sobre la implantación del Rito Romano en la diócesis de Toledo partiendo de fuentes litúrgico-musicales. Una obra de lectura obligada para quienes deseen profundizar en la transición entre el Rito Visigótico y el Rito Romano en España.
Vista previa:
http://books.google.com/books?id=fSHN6hc42BAC&printsec=frontcover&dq=juan+pablo+sadia+rito+romano&source=bl&ots=j6a7kjm_pw&sig=fsMVJZ0WNLtGDbWmSJeu_6tSkh4&hl=es&ei=eWbLS7eyCqeUOIOQlewF&sa=X&oi=book_result&ct=result&resnum=1&ved=0CAYQ6AEwAA#v=onepage&q&f=false
Para los que deseen comprarlo:
http://publicaciones.itsanildefonso.com/tienda/product_info.php?products_id=324&osCsid=30eb67977882ccc7d5aec9eb6c543790
Hispania Vetus: Musical-Liturgical Manuscripts from Visigothic Origins to the Franco-Roman Transition (9th-12th Centuries). Edited by Susana Zapke
460 pages en ligne sur 480
Pp. 4-428 et Pp. 446-479
Interesssant.
Salutations a tous.
Juan Carlos Asensio
16TH MEETING OF THE IMS STUDY GROUP ‘CANTUS PLANUS’
VIENNA, AUSTRIA, KARDINAL-KÖNIG-HAUS, 21-27 AUGUST 2011
www.kardinal-koenig-haus.at
Topics
The changing face of sacred chant throughout the centuries has always presented methodological challenges for scholars: from concrete technical work on the cataloguing, evaluation, and digital presentation of sources and their repertoires to the interdisciplinary perspectives afforded by a wide range of disciplines (literary studies, liturgical studies, paleography, codicology, etc.). These methods continue to lead to important and ground-breaking discoveries. Yet, just as chant was transformed and reformed, so, too, do newer methodological approaches examining the broader cultural and historical contexts of musical production and transmission present fresh challenges for the study of cantus planus.
For our next meeting, the Chair and Advisory Board of the Study Group particularly invite proposals for presentations that explore the future of research on cantus planus in newer areas of inquiry. We propose – in addition to the more standard topics (Rome before 800, the Carolingian renewal, tropes and sequences, historiae, local traditions) – the following as examples:
Intersections of major traditions, East and West
Chant and the arts
Chant and ritual
Chant and political history
Chant and children, women, and men
Chant and private devotion
Chant in contemporary global popular culture
Teaching the theory and practice of Western plainchant in history and today
Theory and teaching of Eastern chant
Chant composition and theory after 1100
A history of chant-style(s)
Theory, practice and cataloguing of contrafacta
Chant within polyphony / Cantus firmi
Ecclesiastical and secular recitation-formulas and reading-tones
Printing and chant repertories
Later chant notations
Chant and archival research
Chant and ‘late’ reforms
Chant in Protestant and other reformed liturgies
Guidelines for proposals
Please read the guidelines for proposals carefully: proposals that do not conform to them cannot be considered.
All proposals must include:
• the author’s name,
• institutional affiliation and/or city of residence,
• full return address, especially a regularly used e-mail address,
• an indication of the type of presentation (see below types of presentation A-G),
• an indication of audio-visual needs.
Length
for all proposals: 150-350 words. Mere indications of topic or markedly shorter or longer proposals will not be considered.
Types of presentation
The Chair and Advisory Board of the Study Group invite proposals in several categories:
A position papers,
B three-paper sessions,
C 25-min individual papers,
D 15 min individual papers with a 10 min presented response (one proposal, but two presenters – the reader of the paper and the respondent),
E reports,
F evening demonstrations, and
G posters / audiovisual presentations
A Position papers. We seek proposals for position papers on major topics. These papers will be followed by a longer discussion period. Of the ten papers to be selected, we seek one each on the following topics: ‘cantus planus in Austria’, ‘issues in chant performance’, ‘the cantus firmus’, and ‘chant seen through printed sources’. Proposals not selected will be judged as individual paper proposals (category C). Proposals for position papers should adhere to the instructions for individual papers. These ten papers will be submitted to Acta musicologica for publication.
B Three-paper sessions without respondents. For this proposal, organizers should prepare a rationale, explaining the importance of the topic and the proposed constituent papers, together with the names of the organizer, participants, and a suggested chairperson. The organizer should also include a proposal for each paper, which conforms to the guidelines for individual proposals above. Formal session proposals will be considered as a unit and as individual papers. Papers not meeting the required standard may be rejected, while the session remains otherwise intact.
C Individual papers. Proposals should represent the paper as fully as possible. A successful proposal articulates the main aspects of the argument or research findings clearly, positions the author’s contribution with respect to earlier work, and suggests the paper’s significance for the ‘Cantus Planus’ community.
D Short individual paper with a presented response. The proposal should describe the paper and the response as fully as possible, as well as the rationale for pairing them. We especially seek combinations that reveal two sides of an important debate, through specific examples or topics.
E Reports on research in progress. Papers that do not represent completed research fall in this category. Reports may last no longer than 10 minutes.
F Demonstrations. Demonstrations of technology or research methods or of longer musical examples must not take more than 15 minutes. These will be held in the evening. The demonstration and its rationale must be described as fully as possible.
G Posters / audiovisual presentations. We invite poster and audiovisual presentations on topics such as notation, topography, chant and architecture, chant and ritual, chant and popular culture and so on. The nature and content of the presentation and its contribution to scholarship should be described as fully as possible.
Restrictions
Due to limitations of time, individuals generally must restrict themselves to one contribution only. Contributions from the options F and G are encouraged. Paper-presentations can choose only one of the options A–E. A presentation from options A-E may be combined with option F or G, however.
Languages
Proposals in any of the five IMS languages may be submitted: English, French, German, Italian, Spanish.
Submission procedure and Deadline
Proposals must be received before 16 September 2010 12:00 MET.
All proposals must be submitted electronically as email-attachments in text-format, to
cp.chair@hf.ntnu.no
Replies will be sent to all who submit proposals by 1 November 2010. Notification of acceptance will be made by 15 December 2010.
Roman Hankeln, Chair / Barbara Haggh, Past Chair
Partnership
and your logo here...
We need other partners !
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Soutenir et adhérer à l'Association Musicologie Médiévale !
