Music about music – self-parodies in the early modern mass

该项目致力于迄今未被探索的现象，即根据自己的模型创作复调弥撒曲--这种现象最早见于15世纪初，在16世纪日益流行。为了这个目的，一个语料库的约130个群众组成将被质疑的技术和概念，翻译自己的音乐到新的，自己的音乐。以自我戏仿为例，该项目的目的是评估翻译方法的音乐学文艺复兴研究，并突出从c的历史时期。1420年至1600年是复调弥撒曲创作发生重大变化的时期。如果这些自我借用的技巧被理解为一种文化的、话语的环境的一部分，那么在15和16世纪发展起来的作曲家身份的复杂形成就可以从他们的对象中被讨论和解读，从而反过来成为跨学科的。在合作项目的引用：文艺复兴模仿大众项目（CRIM），将使用计算机辅助分析工具，这是非常适合的互文参考的检查。作为合作项目的一部分，获得的数据也将输入美因茨质量数据库（MDB）。

The project is devoted to the hitherto unexplored phenomenon of composing polyphonic masses on one’s own models – a phenomenon first observed in the early 15th century, with increasing popularity in the 16th century. For this purpose, a corpus of about 130 mass compositions will be questioned about its techniques and concepts of translating own music into new, own music. Using the example of self-parody, the aim of the project is both to appraise translational approaches for musicological Renaissance research and to highlight the historical period from c. 1420 to 1600 as a significant era of changes in composing polyphonic masses. If these techniques of self-borrowing are understood as part of a cultural, discursive environment, the complex formation of the composer’s identity, which developed in the 15th and 16th century, can be discussed and deciphered from their objects, and thus in turn become interdisciplinary. In cooperation with the project Citations: The Renaissance Imitation Mass Project (CRIM), tools of computer-aided analysis will be used, which are ideally suited for the examination of intertextual references. The data obtained will also be entered into the Mainz MassDataBase (MDB) as part of a cooperative project.