Chers membres du Réseau Musicologie Médiévale,

Cette année encore, je viens solliciter votre aide. Comme vous le savez déjà, plusieurs frais sont liés au bon fonctionnement de Musicologie Médiévale et de la base MMMO. En effet, le 20 août 2020 je dois payer notre hébergeur (Ning) d’un montant de 540 €. De plus, j’ai engagé 1000 € pour MMMO, dont 400 € que j’ai déjà pu payer avec vos dons de l’année dernière. Il reste donc encore 600 € que je dois à notre Webmaster Jan Koláček. La fusion entre le réseau Musicologie Médiévale et MMMO en un seul site est toujours en projet et je souhaite demander à notre Webmaster une nouvelle option permettant d’intégrer des index directement à partir de fichiers Excel, ce qui permettrait d’avancer encore plus rapidement.

Je remercie encore ceux d’entre vous qui ont accepté de me soutenir l’année dernière ainsi que l’aide annuelle de DIAMM, avec une pensée particulière pour Ulrike Hascher-Burger, Guy Robert et René Zosso qui nous ont quittés cette année…

En deux ans, MMMO est devenu le deuxième contributeur de Cantus-Index après Cantus Database  avec ses trois projets d’indexation :
Cantus Imperii
Cantus Romanus
Cantus Italicus

Cette année a été marquée avec la crise que nous traversons, j’ai moi-même été contaminé par le covid au début du mois de mars, ce qui a pendant quelque temps compliqué la bonne gestion de mes sites internet.

Vous le savez déjà, sans votre aide, je serai dans l’obligation de fermer Musicologie Médiévale et mes travaux de recherche seraient limités et invisibles. Aussi, je suis toujours à la recherche d’aides institutionnelles supplémentaires....

Si vous désirez soutenir le réseau « Musicologie médiévale » et « MMMO Database », vous pouvez m’envoyer un versement via PayPal à l'adresse suivante: musicologie.medievale@gmail.com. Si vous ne disposez par de compte Paypal, vous pouvez faire un virement bancaire :

Vous pouvez aussi envoyer un chèque adressé à Musicologie Médiévale à l’adresse suivante :

Musicologie Médiévale
4 La Touche Larcher
56800 Campénéac

Je compte sur votre aide à tous. Il serait dommage que par manque de moyens financiers notre réseau ferme ses portes.

Je vous remercie d’avance pour votre générosité.

Très cordialement,

Dominique Gatté

Musicology at Kalamazoo

2020 Call For Papers

​The program committee for Musicology at Kalamazoo (Anna Kathryn Grau, Luisa Nardini, Gillian Gower) invites abstracts for the 53rd International Congress on Medieval Studies, May 7-10, 2020. The topics approved by the Congress include:

​

• Chant and Liturgy will focus on the role of monophonic chant in liturgical contexts. We particularly invite papers that are interdisciplinary in focus and methodology, or that place chant and sacred polyphony in their historical and cultural contexts.

• Musical Craft, Composition, and Improvisation will analyze musical creativity under the point of view of composition and improvisation, which, for most of the middle ages, are deeply interrelated. How did improvisation affect musical composition in the middle ages and how this interplay is reflected in manuscript sources? Conversely, how can modern performers improvise in an historically-informed manner?

• Musical Medievalism is devoted to discussion of the uses of medieval or medieval-inspired music in later works, including music, drama, film and television, video games, and other popular culture. This may include both modern examples and those from periods closer to the middle ages. We invite participants from other disciplines and sub-disciplines to consider the relationship between musical medievalism and other types of medievalism. Does the engagement with music history by later creators differ from their engagement with other elements of medieval culture?

• Music Theory & Practice will explore the intersection between theory and practice in the musical production of the Middle Ages. Although formal and stylistic features as well as musical techniques tend to predate their discussion in theoretical treatises, theory and practice are interdependent. We welcome papers that investigate these connections for both sacred and secular repertories.

• Musical Intertextuality/Intratextuality will explore relationships between and within works, including musical and textual repetition, allusion, citation, and borrowing. Topics may include, for example, refrain citation, motivic repetition, cantus firmus technique, and musical symbolism. These are not only matters of tracing connections or labeling works; intertextuality and intratextuality relate to broader questions such as issues of audience, communities of listeners, and concepts of originality and influence. We welcome papers on music of any period, genre, or place of origin within the broader Middle Ages, to allow for discussion about the changing nature of music relationships.

• Musical Margins and Migrations offers the opportunity to explore music outside the major centers of musical production, either in geographical or demographic terms. This may include discussion of music produced or performed in “peripheral” regions, transmission between regions, manuscript encounters, and musical production by groups marginalized in medieval Europe.

• Roundtable: Medieval Music and Inclusive Pedagogy invites proposals for short presentations and discussion on timely questions of diversity and inclusion in the classroom, with a focus on issues that are unique to music classrooms. How can our obligation to prepare students for future study be balanced with the need to broaden and diversify the content of our surveys? How can we better welcome students from varied backgrounds into the study of music from the medieval Christian tradition, in which deep knowledge of Christian imagery and texts is often presumed? This session invites teachers from any educational environment who have found success in increasing the inclusivity of their curriculum or classroom to share their experiences and recommendations, and provides a space for discussion of these problems in the context of our specific intersection of disciplines.

Voir la suite... 

https://musicologykzoo.wixsite.com/home?fbclid=IwAR26VAJRqlKECYUU4idNtNm90uCEBOmARC-MDbP683h73ZQlfnhNja7LNoM

De Notularum Cantus Figuris ! 

Le Père Stéphane Torqueau a mis en accès libre un logiciel qu'il a créé permettant d'éditer des partitions en notation carrée, pouvant être surmontées de neumes types sangalliens. Le logiciel intègre aussi la notation mensurale !

https://www.lelogicielgratuit.com/logiciel/dncf/?fbclid=IwAR3Ka4VjRXj2U2yPOGUUNGIGzvP2lMb6IS5zN81Zh-QjjTpXFwgnwU1awPg

DNCF_mode_emploi.pdf

NB. pour les Mac, utilisez le logiciel WINE qui permet de faire fonctionner un logiciel Windows sous Mac ou Linux

A PETITION TO SAVE THE "MONUMENTA MUSICAE BYZANTINAE"

https://www.change.org/p/rektor-adm-ku-dk-save-the-monumenta-musicae-byzantinae

(Please follow the link, if you would like to support the petition!)

To the Rector of the University of Copenhagen (prof. Henrik C. Wegener: rektor@adm.ku.dk)

To the Dean of the Faculty of Humanities of the University of Copenhagen (prof. Jesper Kallestrup: dekan@hum.ku.dk)

To the Head of the Saxo Institute of the University of Copenhagen (prof. Stuart James Ward: stuart@hum.ku.dk)

Dear Sirs,

We are writing to you as the Editorial Board of the Monumenta Musicae Byzantinae, to express our alarm at your proposal to dismiss Prof. Christian Troelsgård from his position as Associate Professor in the Saxo Institute.

The Monumenta Musicae Byzantinae (MMB) was established in Copenhagen in 1935 under the direction of Prof. Carsten Høeg, and quickly became a world-renowned scientific enterprise devoted to the study and publication of Byzantine musical and liturgical sources. The University of Copenhagen has been central to the activities of the MMB ever since. As you are doubtless aware, it houses a comprehensive library and archive which has supported a sustained and highly productive programme of research and publication by a very international body of scholars. Students of the successive directors of the MMB have gone on to secure prestigious positions around the world in the fields of Classics, Byzantine Studies and Musicology. The MMB volumes are published under the auspices of the Union Académique Internationale, with the support of the Carlsberg Foundation and several other funding bodies, and are universally admired for the quality of their research as well as for their high production standards.

In consideration of the worldwide recognised leading role of the MMB in research on Byzantine music and liturgy, we are deeply concerned by the unexpected news that the intense research activities conducted within the MMB project are in serious danger of coming to an abrupt end. We gather that, for reasons of ‘necessary cut-backs’, the University plans in a few weeks to dismiss – after 26 years of honoured service – the MMB Director Prof. Christian Troelsgård, a highly esteemed scholar and teacher, on the vague grounds that his position no longer ‘matches the future development of the Faculty’.

Since Prof. Troelsgård represents the one and only institutional affiliation of the MMB project in Denmark, this would lead to a sudden cessation of all of the MMB’s research activities, which have for more than 80 years been centred in the University of Copenhagen, and to the lamentable dispersal of a whole scholarly tradition that has represented a jewel in the crown of Danish (and European) research in the humanities thoughout this period. In fact, the consequences of this dismissal on research in the field of Byzantine music and chant would be really dramatic, not only in Denmark: the MMB has since its inception been designated as a ‘research enterprise’ under the auspices of the Union Académique Internationale, a status in which it was recently re-accredited, and the dismantling of its leading research unit in Denmark would condemn the whole international project (with partner-scholars in Austria, Italy, Germany, Greece, the United Kingdom, the United States, and many other countries) to a sudden and definitive closure. The MMB has attracted long-term research funding to the University of Copenhagen over many decades, flourishing successively under the leadership of its founder Prof. Carsten Høeg, then Prof. Jørgen Raasted, and especially now under Prof. Troelsgård’s careful and dedicated guidance. The hasty liquidation of a research school that is so well established in the University of Copenhagen would put at stake a unique and important European research tradition.

We are not party to the ‘future development of the Faculty’ on which grounds you propose to dismiss Prof. Troelsgård, but we respectfully remind you that he is universally regarded as a leading scholar in all branches of the study of Byzantine chant, known internationally through his many books and articles of consistently exceptional quality, and widely respected in the University through his co-ordination of several externally-funded research projects and as a member of the Academic Council of the Faculty of Humanities. In Demark he is honoured as a member of the Royal Danish Academy, and internationally he sits on many advisory panels for leading journals and research projects. His graduate students have taken the field of research into many new directions under his careful guidance, and have developed successful careers in many countries, widening interest in the field of Byzantine chant across the world.

Byzantine music should not be considered an exotic and sophisticated research field reserved for the happy few who are engaged in it: it has important repercussions on our understanding of many aspects of the different cultures of the world we live in. The Byzantine chant tradition is the real core of the Orthodox liturgy in Greece, Eastern Europe, Russia, the Balkans, Southern Italy, and the Middle East, and is therefore an important key to our understanding of the mentality of the different peoples living in this wide area. Language, rite and music constitute fundamental aspects of the cultural identity of the Eastern-Mediterranean Christian communities, many of which are now often under threat. Weakening the study of these traditions would lead to an impoverishment of our understanding of this part of world culture, and could also be seen as turning our backs on these populations on a cultural level. In the context of the study and research activities of the Saxo Institute, Prof. Troelsgård’s teaching and research have the potential to make one of the closest and most direct connections between the ancient world and the lives of many of the most marginalised communities of today. Far from being an arcane and obscurantist discipline, Byzantine chant is a field which can inspire students to embrace the study of Classical and Eastern languages, Theology, Music, History, Ethnography and Social Anthropology.

Perhaps it is not a consequence you intended in your proposal to dismiss Christian Troelsgård, but we fear that the result in the sudden annihilation of the research centre which has placed Copenhagen at the centre of this branch of historical enquiry for the best part of the last century would have serious consequences in terms of our understanding of global culture, and not only of European or global academic studies. Therefore we strongly encourage you to reconsider your decision to cut short a career in which we continue to foresee much promising contribution to the wider understanding of society.

ON BEHALF OF THE MMB EDITORIAL BOARD

Prof. Nicolas BELL (Trinity College, Cambridge)
Prof. Francesco D’AIUTO (University of Rome "Tor Vergata")
Prof. Sysse Gudrun ENGBERG (University of Copenhagen, emerita)
Prof. Christian HANNICK (Julius-Maximilians-Universität Würzburg, emeritus)
Prof. Christian THODBERG (University of Aarhus, emeritus)
Prof. Gerda WOLFRAM (University of Vienna, emerita)

and

Prof. John D. BERGSAGEL (former Director of MMB; University of Copenhagen, emeritus)
Prof. Tore Tvarnø LIND (secretary of MMB; University of Copenhagen)

Useful links

The Saxo Institute:

https://saxoinstitute.ku.dk/

Homepage of the MMB:

http://www.igl.ku.dk/MMB/

The microfilm collection (and an additional international source catalogue with useful information):

http://www.igl.ku.dk/MMB/catbyz.html

Christian Troelsgård’s permanently updated list of the standard abridged version repertoire of stichera idiomela of the menaion part within the sticherarion (very useful to identify missing parts of a sticherarion manuscript):

http://www.igl.ku.dk/MMB/standard.html

The «Cahiers de l'Institut du Moyen-Âge Grec et Latin» (CIMAGL), an available publication series of the Saxo Institute:

https://cimagl.saxo.ku.dk/access/

Homepage of the related studies of Ottoman music “Corpus Musicae Ottomanicae” (CMO):

https://corpus-musicae-ottomanicae.de/

Middle Ages and Renaissance manuscripts at the collections of “The Royal Danish Library” (Copenhagen):

http://www.kb.dk/en/nb/materialer/haandskrifter/HA/e-mss/mdr.html

En 2010, j'ai réalisé la saisi des mélodies du "Das einstimmige Kyrie des lateinischen Mittelalters" de Margaretha Landwehr-Melnicki pour le site du CMN.

Je vais prochainement intégrer  tout le contenu de l'ouvrage de Margaretha Landwehr-Melnicki dans une base de données et en attendant je vous propose une version Excel du livre.

Attention :

-Vous devez avoir la police Volpiano pour lire le fichier

-Le fichier contient 4 ongets 

Menlicki - Das einstimmige Kyrie

Preserving Ancient New Testament Manuscripts for a Modern World

http://www.csntm.org/

The Center for the Study of New Testament Manuscripts (CSNTM), under the umbrella of The Center for the Research of Early Christian Documents (CRECD), exists for the following purposes:

1. To make digital photographs of extant Greek New Testament manuscripts so that such images can be preserved, duplicated without deterioration, and accessed by scholars doing textual research.

2. To utilize developing technologies (OCR, MSI, etc.) to read these manuscripts and create exhaustive collations.

3. To analyze individual scribal habits in order to better predict scribal tendencies in any given textual problem.

4. To publish on various facets of New Testament textual criticism.

5. To develop electronic tools for the examination and analysis of New Testament manuscripts.

6. To cooperate with other institutes in the great and noble task of determining the wording of the autographa of the New Testament.

Cher amis,

Nous venons d'apprendre la triste nouvelle du décès d'Alejandro Planchart.

Alejandro Planchart fait partie des premiers fidèles du réseau Réseau Musicologie Médiévale et m'a toujours soutenu dans mes projets.

Je garderai en mémoire nous échanges réguliers, et en particulier lors ma contribution à son article "Fragments of an Eleventh-Century Beneventan Gradual".

Merci cher Alejandro pour tout ce que vous avez fait pour l'étude de la musique médiévale, du chant bénéventain jusqu'à Guillaume Dufay....

Google Books, nous permet la lecture complète de la publication de la thèse de Matthieu Smyth soutenue en 2001.

Cette étude est consacrée aux usages liturgiques antérieurs à la réforme carolingienne et plus particulièrement aux traditions occidentales de la prière eucharistique.

L’Antifonario Archivio San Pietro B 79 tra antifonia e organum
M. Cecilia Pia Manelli, FI

Proselli e Prose dei Responsori dell’Ufficio nel Breviario di Carcassonne
Laura Albiero

“Musica est scientialis animae perfectio…”.
Giacomo da Liegi e lo Speculum Musicae, filosofia della musica tra Ars Antiqua e Ars Nova.

Massimiliano Dragoni

https://www.voxantiqua.org/vox-antiqua-n9

Luigi Agustoni: Passion for the Liturgy
Nicola Zanini

Latin pronunciation and Gregorian Chant
Guido Milanese

La Polifonia sacra nel Manoscritto Perugia G20: origine, contesto e riflessioni intorno alla prassi esecutiva
Vladimiro Vagnetti

 https://www.voxantiqua.org/vox-antiqua-n-10

Manuscript EBE 928 (National Library of Greece) ONLINE!

This valuable manuscript with Serbian composers from XV c. is finally online.

EBE 928 link

Diffusés entre le 5 et le 9 novembre 2018 :

https://www.francemusique.fr/personne/marcel-peres

1) 5 novembre

https://www.francemusique.fr/emissions/les-grands-entretiens/marcel-peres-musicologue-1-5-66174

2) 6 novembre

https://www.francemusique.fr/emissions/les-grands-entretiens/marcel-peres-musicologue-2-5-66353

3) 7 novembre

https://www.francemusique.fr/emissions/les-grands-entretiens/marcel-peres-musicologue-3-5-66209

4) 8 novembre

https://www.francemusique.fr/emissions/les-grands-entretiens/marcel-peres-musicologue-4-5-66305

5) 9 novembre

https://www.francemusique.fr/emissions/les-grands-entretiens/marcel-peres-musicologue-5-5-66272

Sessions Intermediality in Iberian manuscripts: materiality and meaning in context

DEADLINE: September 15, 2018

Here you will find the first title from the new Musam Collection by Brepols.

His outcoming is prevised for next october. You can yet order up to 31 August with the reduced price of  E 115 HT.

brepols_folder_MUSAM_A5_druk_Page_2.jpg

Other books will follow as you can read on these posters.

Suede_Posters.pdf

https://www.youtube.com/watch?v=gIWEfCmFON8

The Sound Memories project (SoundMe for short) is an exciting collaborative research project looking at the “Uses of the Past” in the music of Late Medieval and Early Modern Europe. This video introduces the core aims of our project, explaining what our project is about, what we seek to achieve, and how this shall be done. For more information, have a look at our website: soundme.eu

Our project is funded by HERA (Humanities in the European Research Area) and involves academic institutions:

– The University of Cambridge,

– University of Heidelberg/University of Zurich,

– Charles University, Prague,

– Institute of Art of the Polish Academy of Sciences, Warsaw,

– University of Utrecht.

There are also several “Associate Partners” – professional ensembles who collaborate with academics, both to facilitate research and to perform the music. These include:

– Anonymous III (Cambridge)

– BASTARDA group (Warsaw)

– La Morra (Basel)

– Schola Gregoriana Pragensis (Prague)

– Spacesound/Soundspace – Acadamy of Performing Arts (Prague)

– Trigon Ensemble (Leiden)

La rivista internazionale Vox Antiqua, promossa da Cantus Gregoriani Helvetici Cultores e da Cantar di Pietre, diretta da Giovanni Conti, è giunta alla sua ottava uscita.

Indice del n. 8:

Editoriale
Giovanni Conti
 

Luigi Agustoni and Gregorian Chant
Johannes B. Göschl
 

I manoscritti liturgico-musicali medievali della Biblioteca de Catalunya
Maria Incoronata Colantuono

La raccolta Harmonia super vespertinos omnium solemnitatum psalmos sex vocibus decantanda (Venezia, Gardano, 1579) di Orazio Colombano, maestro di cappella della Cattedrale di Vercelli.
Un contributo alla storia di un’istituzione musicale in epoca post-tridentina
Denis Silano
 

Modal shifts and chromatic tones: the textual context
Franco Ackermans
 

Notitiae

Langues et musiques dans les corpus chantés du Moyen Âge et de la Renaissance

Congrès « Philologie et musicologie »,

IV^e rencontre franco-italienne

Morimondo, Italie

1^er- 4 juin 2019

Comité d’organisation

Christelle Chaillou-Amadieu, Gisèle Clément, Fedon Nicolaou, Federico Saviotti et Fabio Zinelli

Comité scientifique

Francesco Carapezza, Christelle Cazaux-Kowalski, Frédéric Duval, Isabelle Fabre, Claudio Galderisi, Isabelle His, Maria Sofia Lannutti, Maria Luisa Meneghetti, Delphine Pasques et Michel Zink

La quatrième rencontre « Philologie et musicologie » se fixe pour objectif d’étudier les rapports entre langues et musiques dans les corpus chantés du Moyen Âge et de la Renaissance. Comment la langue influe-t-elle directement sur les modalités de composition ?

Pour répondre à cette question, nous envisageons un double postulat : d’un côté la substance même d’une langue conditionnerait certains éléments de la composition musicale qui lui sont associés comme le rythme ou la courbe musicale et, d’un autre côté, des modalités de composition pourraient être communes à certaines traditions linguistiques comme, par exemple, les procédés de centonisation. Même si la littérature sur le sujet est abondante, elle est principalement monodisciplinaire ; les travaux transversaux mêlant des compétences égales en philologie et en musicologie sont rares. Si de nombreux musicologues ou philologues se sont intéressés au rapport existant entre musique et langue, nous souhaitons que nos études s’orientent à présent vers un véritable travail entre musicologues et spécialistes des textes. De la même manière, sont peu pratiquées 1) la comparaison entre plusieurs traditions linguistiques et 2) leurs implications dans la création musicale. Plus encore, demandons-nous si ce rapport à la langue fluctue selon les genres, les formes et comment une même langue est traitée dans un cadre monodique ou polyphonique. Enfin, le travail en diachronie jusqu’au XVI^e siècle aura pour objectif de délimiter les continuités et les particularités entre les différentes périodes, tant linguistiques que musicales.

La réflexion portera sur la langue latine et l’ensemble des langues vernaculaires. En suivant une tradition désormais bien établie, la rencontre privilégiera les interventions interdisciplinaires et collaboratives. Les communications individuelles et/ou consacrées à l’une des deux disciplines sont toutefois encouragées si elles entendent problématiser l’approche des objets d’étude vis-à-vis des apports de l’autre discipline ou si elles stimulent la réflexion au sein même de l’autre camp disciplinaire. Le sujet pourra être traité selon deux axes principaux :

I. Le rapport littéral entre musique et langue. La thématique suggère une étude des liens directs entre la musique et le texte ; elle s’adresse particulièrement aux travaux interdisciplinaires. Les travaux comparatifs situés entre plusieurs traditions linguistiques sont les bienvenus. Plusieurs pistes sont envisageables :

1. Morphosyntaxe et structure musicale : langue et forme musicale, langue et structure des motifs musicaux, etc.
2. Métrique et musique : accentuation et rythme musical, choix du mètre/séquence rythmique particulière, etc.
3. Phonétique et musique : rapport entre la matière sonore de la langue (accents grammaticaux et métriques) et courbe musicale, allitérations, assonances, rimes et musique, etc.
4. Musique et langue en diachronie : modifications des rapports entre langue et musique, évolutions linguistiques et musicales, etc.
5. Particularités musicales des textes plurilingues. 
6. Traduction de textes : continuité ou discontinuité de la musique, rapport avec la prosodie, etc.

II. Diversités des langues et traditions musicales. La seconde thématique se veut principalement comparative ; elle pourra concerner les axes suivants :

1. Particularités linguistiques dans les corpus chantés qui pourraient avoir des incidences sur la mélodie ou la polyphonie.
2. Particularités musicales en lien avec la langue employée.
3. Comparaison entre les langues : métrique, accentuation, sonorité, etc.
4. Comparaison entre les mélodies ou les polyphonies ayant comme support des langues différentes : troubadours, trouvères, Minnesänger, etc.
5. Réécritures : emprunts, contrafacta, citations, etc.

La quatrième rencontre aura lieu en Italie dans le village de Morimondo qui accueillera aussi le festival de musiques anciennes Musici Vagantes, associé à notre congrès depuis la rencontre de Rome en 2015.

Les langues officielles du congrès sont le français, l’italien et l’anglais. Les propositions de communications, composées d’un titre et un résumé d’environ 200 mots, devront nous parvenir au plus tard le 15 septembre 2018 à l’adresse suivante :

philomusi4@sciencesconf.org

ou directement en ligne :

https://philomusi4.sciencesconf.org

Après expertise du comité scientifique, une réponse sera donnée au plus tard le 15 octobre 2018. Les interventions feront l’objet d’une publication. Les présentations individuelles dureront 20 minutes et seront suivies par 10 minutes de discussion. Les présentations collaboratives (2 ou 3 intervenants) disposeront du double de temps.

Les frais d’inscription au congrès s’élèvent à 40 euros et seront gratuits pour les doctorants. Les frais de déplacement, d’hébergement et les dîners seront à la charge des participants. Le comité d’organisation pourra toutefois accorder des bourses pour couvrir tout ou partie des frais engendrés aux chercheurs qui ne disposent pas de possibilités de financement par leur laboratoire ; les doctorants et les jeunes docteurs seront bien entendu prioritaires.

Lingua e musica nei corpora cantati del Medioevo e del Rinascimento

Congresso “Filologia e Musicologia”

IV incontro italo-francese

Morimondo (MI)

1-4 giugno 2019

Comitato organizzatore :

Christelle Chaillou-Amadieu, Gisèle Clément, Fedon Nicolaou, Federico Saviotti e Fabio Zinelli

Comitato scientifico :

Francesco Carapezza, Christelle Cazaux-Kowalski, Frédéric Duval, Isabelle Fabre, Claudio Galderisi, Isabelle His, Maria Sofia Lannutti, Maria Luisa Meneghetti, Delphine Pasques e Michel Zink

Con il quarto incontro “Filologia e Musicologia”, intendiamo porre al centro della riflessione degli studiosi i rapporti tra lingua/lingue e musica nei corpora cantati medievali e rinascimentali. Quanto e come, innanzitutto, la lingua influisce sulle modalità compositive?

Per rispondere a questa domanda, muoviamo da un postulato duplice: da una parte, è la sostanza stessa di un idioma a condizionare determinati elementi della composizione melodica ad essa strettamente associati, come il ritmo o la curva musicale; dall’altra, talune modalità compositive potrebbero rivelarsi comuni a specifiche tradizioni linguistiche (come, ad esempio, il processo di centonizzazione). Per quanto la bibliografia sull’argomento sia abbondante, essa appare in maniera preponderante limitata a una sola disciplina: gli approcci trasversali, che contemperino competenze musicologiche e filologiche, rimangono piuttosto rari. Se è vero che molti filologi e musicologi si sono già interessati al rapporto che intercorre tra lingua e musica, sarebbe assai proficuo che i nostri studi si orientassero a una condivisione delle esperienze e a un lavoro comune. Parimenti, il confronto fra ambiti linguistici diversi sul tema della creazione musicale è un campo ancora relativamente poco praticato. In tal senso, vogliamo interrogarci anche sul variare delle implicazioni linguistico-musicali a seconda dei generi, delle forme melodiche e delle tipologie testuali, così come tra monodia e polifonia. Infine, la scelta di un’ampia prospettiva diacronica, che va dal XII al XVI secolo, piuttosto inusuale anche in relazione alla specializzazione degli studiosi, consentirà – ci auguriamo – di superare le delimitazioni talvolta troppo nette tra i diversi periodi e, al contempo, di valorizzare le particolarità, tanto linguistiche quanto musicali, delle rispettive produzioni.

Oggetto dell’analisi saranno il latino e le lingue volgari dell’Europa occidentale. Seguendo una tradizione ormai ben consolidata, si privilegeranno gli interventi di taglio interdisciplinare e, in particolare, quelli proposti in collaborazione da due o tre specialisti di ambito differente. Le comunicazioni monodisciplinari e/o individuali saranno tuttavia le benvenute, qualora intendano confrontarsi con l’approccio dell’altra disciplina.

Il tema potrà essere sviluppato seguendo una o più delle piste che vengono proposte di seguito.

I.Lo specifico rapporto tra lingua e musica (studio delle implicazioni dirette tra melodia e testo: si presta particolarmente a lavori interdisciplinari, nonché ad approcci comparativi che chiamino in causa diversi ambiti linguistici).

7. Morfosintassi e struttura musicale: lingua e forma melodica, lingua e struttura dei motivi musicali, etc.
8. Metrica e musica: accentuazione e ritmo, scelta del metro e della sequenza ritmica, etc.
9. Fonetica e musica: suoni della lingua e curva musicale, allitterazioni e assonanze, rime e melodia, etc.
10. Musica e lingua in diacronia: cambiamenti nel rapporto tra lingua del testo e musica, evoluzioni linguistiche e musicali, etc.
11. Particolarità musicali dei testi plurilingue. 
12. Traduzione: continuità/discontinuità della musica, rapporto con la prosodia, etc.

II.Varietà delle lingue e delle tradizioni musicali (studio eminentemente comparativo: potrà essere svolto mediante approcci monodisciplinari e individuali che interessino l’altra disciplina).

1. Particolarità linguistiche che potrebbero avere incidenza sulla composizione melodica.
2. Particolarità musicali legate alla lingua impiegata.
3. Confronto tra le lingue: prosodia, accentuazione, sonorità, etc.
4. Confronto tra le melodie in ambiti linguistico-letterari differenti: ad es. trovatori, trovieri e Minnesänger.
5. Riscritture: prestiti, contrafacta, citazioni, etc.

Il congresso si terrà nel villaggio di Morimondo (MI), tra Pavia e Milano, che accoglierà anche il festival di musica antica Musici Vagantes, associato ai nostri incontri da Roma 2015.

Le proposte di comunicazioni, che devono includere un titolo e un abstract di circa 200 parole, dovranno essere trasmesse entro il 15 settembre 2018 all’indirizzo seguente:

philomusi4@sciencesconf.org

o online :

https://philomusi4.sciencesconf.org

Dopo una valutazione da parte del comitato scientifico, daremo risposta ai proponenti entro il 15 ottobre 2018. È prevista la pubblicazione degli atti del congresso.

Le comunicazioni individuali dureranno 20 minuti e saranno seguite da 10 minuti di discussione. Le presentazioni in collaborazione (2 o 3 relatori) disporranno del doppio del tempo.

La quota d’iscrizione al congresso sarà di 40 euro (gratuito per i dottorandi). Le spese di viaggio e soggiorno saranno a carico dei partecipanti. Tuttavia, sarà possibile garantire un rimborso totale o parziale a coloro che non potessero ottenerlo dalla propria Università o centro di ricerca (la priorità sarà ovviamente data a dottorandi e non strutturati).

Languages and music within the vocal corpuses from the Middle Ages and the Renaissance

4^th International French-Italian Symposium
“Philology and Musicology”

Morimondo, Italy

June 1-4, 2019

Organizing committee:

Christelle Chaillou-Amadieu, Gisèle Clément, Fedon Nicolaou, Federico Saviotti and Fabio Zinelli

Scientific Committee:

Francesco Carapezza, Christelle Cazaux-Kowalski, Frédéric Duval, Isabelle Fabre, Claudio Galderisi, Isabelle His, Maria Sofia Lannutti, Maria Luisa Meneghetti, Delphine Pasques and Michel Zink

The 4^th symposium “Philology and Musicology” aims to address the question of the relationship between languages and music in the vocal corpuses from the Middle Ages and the Renaissance. How does language directly affect the compositional process?

In order to answer this question, we consider a double postulate:  on the one hand, the very substance of a language would condition certain elements of the musical composition associated with it, such as the rhythm or the musical phrase and, on the other hand, the compositional process might be common to certain linguistic traditions, for example, the processes of “centonization”. Although the literature on the subject is abundant, it is mainly monodisciplinary; transversal work combining equal skills in philology and musicology are rare. While many musicologists and philologists have been interested in the relationship between music and language, we wish now to orient our studies towards a real collaboration between musicologists and text specialists. In the same way, comparative studies of several linguistic traditions are relatively rare, as are studies of their implications in musical creation. Moreover, we question whether this relation to language varies according to genres and forms, and how the same language is treated in monody or polyphony. Finally, the consideration of this question diachronically up to the 16^th century will aim to delimit the continuities and particularities between different periods, both linguistic and musical.

Texts in both Latin and the vernacular languages will be taken into account. Following a now well-established tradition, the meeting will privilege interdisciplinary and collaborative contributions. Individual contributions and/or contributions devoted to one or the other of the two disciplines are nevertheless encouraged, as long as they aim to problematize the consideration of the objects of study in relation to the contributions of the other discipline, or if they stimulate reflection within the other disciplinary domain. The subject may be treated according to two main axes:

I.The literal relationship between music and language. The theme suggests a study of the direct links between music and text; it is particularly suited to interdisciplinary work. Comparative works situated among several linguistic traditions are welcome. Possible approaches might include:

1. Morphosyntax and musical structure: language and musical form, language and structure of musical motifs, etc.
2. Metrics and music: accentuation and musical rhythm, choice of meter / specific rhythmic sequence, etc.
3. Phonetics and music: relationship between the sound material of the language (grammatical and metrical accents) and musical curve, alliterations, assonances, rhymes and music, etc.
4. Music and language in diachrony: changes in the relationship between language and music, linguistic and musical evolution, etc.
5. Musical particularities of plurilingual texts.
6. Translation of texts: continuity or discontinuity of music, relation with prosody, etc.

II.Diversity of languages and musical traditions. The second theme is mainly comparative; it may concern the following axes:

1. Linguistic features in vocal corpuses that could affect melody or polyphony.
2. Musical features related to the language used.
3. Comparison between languages: metrics, accentuation, sound, etc.
4. Comparison between melodies or polyphonies setting texts in different languages: troubadours, trouvères, Minnesänger, etc.
5. Rewritings: borrowings, contrafacta, quotations, etc.

The fourth meeting will take place in Italy in the village of Morimondo, which will also host the medieval music festival Musici Vagantes, associated with our congress since the Rome meeting in 2015.

Proposals for papers, consisting of a title and a summary of approximately 200 words, must be received no later than September 15, 2018 at the following address:

philomusi4@sciencesconf.org

or online :

https://philomusi4.sciencesconf.org

After review by the scientific committee, a decision will be conveyed no later than October 15, 2018. The papers will be published in the proceedings of the symposium.

Official languages of the symposium are French, Italian and English. Individual presentations should last 20 minutes and will be followed by 10 minutes of discussion. Collaborative presentations (2 or 3 speakers) will have double time.

The conference registration fee is 40 €; free for doctoral students. Travel expenses, accommodation and dinners will be at the charge of the participants. The organizing committee may, however, award grants to cover all or part of the costs incurred by researchers who do not have funding possibilities from their research centres; doctoral students and young PhDs will of course have priority.

Compositeur(s) au Moyen Âge

Université de Rouen, 23-24 mai 2019

Organisateurs : Gaël Saint-Cricq (Université de Rouen, GrHis), Anne-Zoé Rillon-Marne (Université Catholique de l’Ouest, CESM)

Comité scientifique : Étienne Anheim (École des hautes études en sciences sociales), Catherine Bradley (University of Oslo) Helen Deeming (Royal Holloway), David Fiala (Université de Tours, CESR), Elizabeth Lalou (Université de Rouen, GrHis), Yolanda Plumley (University of Exeter)

Au-delà de quelques figures bien connues, l’identité et la personnalité des créateurs de la musique médiévale se laissent difficilement appréhender. La notion même de « compositeur » reste un concept malaisé à manier, en raison du faible nombre d’attributions dans les sources, de la documentation limitée sur ceux qui composaient la musique, et des modes même de composition, collectifs et ouverts, du Moyen Âge. De fait, notre approche de la musique médiévale s’est longtemps tenue à distance de la question des auteurs, et s’est de facto volontiers orientée vers l’étude des processus de création et pratiques d’interprétation, ou a favorisé des notions telles que le genre, le registre, les répertoires, etc. Le colloque propose de dresser un état des lieux et de revenir sur cette question à la lumière des travaux récents ; il invite à revisiter et élargir la notion de compositeur comme outil alternatif d’analyse et de compréhension des répertoires médiévaux.

Pistes d’études (non restrictives) :

1. Compositeurs identifiés : nouvelles approches biographiques, critique historiographique, prosopographie ;

2. Compositeurs anonymes : critères et méthodes d’identification de mains de compositeurs

3. Compositeurs cachés : remaniements, adaptations, ajouts, révisions scribales ;

4. Compositeurs comme groupe socio-culturel : approche anthropologique, culturelle et sociale de la création musicale ;

5. Compositeurs proclamés : sens et modalités des attributions dans les sources, question de l’autorité

6. Compositeurs en réseau : rencontres et filiations à travers la citation

7. Compositeurs patrimoniaux : l’émergence des manuscrits d’auteurs à la fin du Moyen âge, processus d’auteurisation

Nous vous invitons à proposer des communications de 30 minutes, qui seront suivies de 10 minutes de discussion. Les résumés (500 mots maximum) doivent être envoyés à conference.compositeurs.rouen@gmail.com, et doivent comprendre le nom de l’auteur, ses coordonnées et son affiliation éventuelle. Résumés et communications peuvent être présentés en français ou en anglais.

Date limite des propositions : Dimanche 21 octobre 2018

Composer(s) in the Middle Ages

Université de Rouen, 23 to 24 May 2019

Organisers: Gaël Saint-Cricq (Université de Rouen, GrHis), Anne-Zoé Rillon-Marne (Université Catholique de l’Ouest, CESM)

Conference Committee: Étienne Anheim (École des hautes études en sciences sociales), Catherine Bradley (University of Oslo) Helen Deeming (Royal Holloway), David Fiala (Université de Tours, CESR), Elizabeth Lalou (Université de Rouen, GrHis), Yolanda Plumley (University of Exeter)

Beyond a few well-known figures, the identity and personality of the composers of medieval music cannot be easily unravelled. The very notion of “composer” remains awkward to deploy, owing to the paucity of source attributions, the dearth of documentation about those who composed music, and the open and collective nature of compositional modes in the Middle Ages. In fact, our approach to medieval music has long stayed clear of the question of the author identity, and has de facto headed more willingly towards the study of the compositional processes and performance practices, or has favoured such notions as genre, register, repertoire, etc. The conference proposes to take stock of this situation and revisit the question of authorship in light of recent scholarship; it invites us to reconsider and expand the notion of composer as an alternative tool of analysis and comprehension of the medieval repertories.

Potential topics include (but are not limited to):

1. Identified composers: new bibliographical approaches, historiographical criticism, prosopography;

2. Anonymous composers: methods and tools for the identification of composer hands;

3. Hidden composers: recomposition, adaptations, additions, scribal reworkings;

4. Composers as a social and cultural group: anthropological, cultural and social approaches of musical creation;

5. Proclaimed composers: sense and modalities of source attributions, questions of authorship;

6. Composers in a network: encounters and filiations of composers through quotation and citation;

7. Composers as objects of manuscripts: the emergence of single-author collections and manuscripts by the end of the Middle Ages, compendia characterized by an emphasis on author identity and author corpus

Proposals are welcome for individual papers (30 minutes’ duration, to be followed by 10 minutes for discussion). Abstracts (up to 500 words) should be submitted to conference.compositeurs.rouen@gmail.com, and should include the name of the author(s), contact details and affiliation (if any). Abstracts and presentations can be in French or in English.

Submission deadline: October 21^st, 2018

"This posting is wonderful and I invite all conference organizers to do the same : CP, MedRen, etc...)
Cette mise en ligne est formidable et j'invite tous les organisateurs de colloques et divers conférences à en faire autant : CP, MedRen, etc..."

Luisa Zanoncelli, David Hiley - Historiae : Introduzione al Convegno

Benjamin Brand - Psalm paraphrase and biblical exegesis in an early office for Saint Stephen

Harald Buchinger - On the hermeneutics of saints' offices. A response to the papers of Henry Parkes and Benjamin Brand

Roman Hankeln - Music and text in saint’s offices. Two approaches

Kate Helsen - Working with the research legacy of Andrew Hughes

Giacomo Baroffio - Iter liturgicum italicum. Alla ricerca di historiae e di liturgie locali

Eva Ferro - From the saint’s historia to the saint’s feast? Some reflections on the methods of textual edition of saints’offices

Barbara Haggh Huglo - Some medieval offices from Ghent and a new way of interpreting their melodies

Jean François Goudesenne - Territory and historiography of “Gregorian” chant in early west Frankish historiae (750-950)

Danette Brink - The seven historiae for the medieval cathedral of Trier. A conservative point of view

Zsuzsa Czagány - Historiae in the central European area. Repertorial layers and transmission in Bohemia, Poland and Hungary

Marco Gozzi - La ricerca sulle historiae in Italia: prospettive e opportunità -- Research on historiae in Italy - desiderata and opportunities

Cesarino Ruini - The offices of the Saints Adalbert, Hedwig and Stanislaus at Trent: a history of exclusion

Gionata Brusa - Giulia Gabrielli - Historiae in the Alto Adige. Competing influences and historical developments in local chant composition

Nous avons reçu la triste nouvelle du décès de Xavier Bisaro, survenue de dimanche 17 juin, d'un arrêt cardiaque.

Ses obsèques auront lieu ce mercredi à 14h30 en l'abbatiale de La Roë en Mayenne.

Les chantres de La Roë seront dirigés par Jean-Christophe Candau pour chanter la messe de requiem selon le rit dominicain.

Le réseau Musicologie Médiévale présente ses condoléances son épouse et à tous ses proches...