_Cantum pulcriorem invenire_: Thirteenth-Century Latin Poetry and Music

漫长的十三世纪(C1170至C1320)见证了三个连贯的复调音乐曲目的出现：被称为管风琴的礼拜圣歌的背景，最初源于管风琴部分的颂歌，以及指挥。在过去的150年里，管风琴和护城河一直是令人印象深刻的音乐学研究的主题，而指挥曲--尽管它是音乐史上第一个始终如一的新作曲复调曲目--仍然有些笼罩在阴影中。尽管《资料库》已经编目，但建立在这些书目基础上的著作虽然非常杰出，但却很少。因此，指挥曲处于这个项目的中心，将拉丁诗歌和音乐融合在一个单一的流派中。Cantom Pulcriorem invenire(该项目的标题引用了论文Ars cantus mensurablis中的几句话，指导未来的指挥曲作曲家首先“找到更美丽的旋律”)试图理解指挥的拉丁诗歌和音乐，以期恢复它与管风琴和护城河一样的地位，它在13世纪所有理论家的眼中和言语中享有的地位。这种理解是通过对曲目和年表、诗歌和音乐的分析，以及对该流派节奏和节拍这一极具争议的问题的审查而获得的。这就是考察韵律功能的基础，互文，导致在文学散文的背景下，作为混合形式的传导的功能的研究。这项研究还考虑了传导(它在英格兰、伊比利亚半岛和西南部德语地区的特殊种植)的地理方面，以及它在1300年左右不断变化的普通地平线上的命运。研究涉及四个要素：一本专著，对整个剧目的重新编目，实践指导的研究，对该项目的一些关键部分和两个博士做出贡献。该项目的重新编目在很大程度上依赖于已故的澳大利亚音乐学家戈登·安德森(D.1981)未发表的工作，并与悉尼大学(其中世纪研究中心和电子奖学金环境)和新英格兰阿米代尔大学合作进行。第二个要素是从表演的角度对《剧目》进行审查。使用在中世纪复调演奏方面有着广泛记录的世界级表演者，并建立在PI在这一领域的经验的基础上，Canum Pulcriorem Invenire通过将对该问题的各种解决方案带入表演舞台并在CD上创建商业标签和作为互联网传递的声音文件来调查指挥中的节奏和节拍问题。这两篇博士论文将详细讨论该项目本身将连贯但笼统地处理的领域：英语指挥作品与其他体裁之间的关系问题，以及指挥作品本身与其他体裁之间的互文联系问题。该项目将以专著的形式传播，由剑桥大学出版社出版，有两种格式的录音(与Hyperion合作的三个商业录音；放在Primo(Practice As Research In Music Online)网站上的一系列工作文件)，以及由悉尼大学的电子学术环境托管的在线曲目目录。

The long thirteenth century (c1170 to c1320) saw the emergence of three coherent repertories of polyphonic music: settings of liturgical chant called organum, motets that were originally derived from parts of organum, and the conductus. Organum and the motet have been the subject of impressive levels of musicological study in the last 150 years whereas the conductus - despite its status as the first consistent repertory of newly-composed polyphony in the history of music - has remained somewhat in the shadows. Although the repertory has been catalogued, little work, although very distinguished, has been built on these bibliographical foundations. The conductus therefore stands at the centre of this project, merging Latin poetry and music in a single genre.Cantum pulcriorem invenire (the title of the project quotes lines from the treatise Ars cantus mensurabilis that instruct would-be composers of conductus first of all 'to find a more beautiful melody') seeks to understand the Latin poetry and music of the conductus with a view to reinstating it alongside organum and motet, the position that it enjoyed in the eyes and words of all thirteenth-century theorists. This understanding is gained by an analysis of repertories and chronology, poetry and music, in conjunction with a review of the highly contested question of the genre's rhythm and metre. This then serves as the basis for an examination of cadential function, intertexts, leading to a study of the function of the conductus as a mixed form in the context of the literary prosimetrum. The research also considers geographical aspects of the conductus (its particular cultivation in England, the Iberian Peninsula and south-western German-speaking lands) and its fate on the shifting generic horizon around 1300.The research involves four elements: a monograph, a recataloguing of the entire repertory, practice-led research to contribute to some of the key parts of the project and two PhDs. The recataloguing of the project depends heavily on the unpublished work of the late Gordon Anderson (d. 1981), an Australian musicologist, and is conducted in collaboration with the Universities of Sydney (both its Centre for Medieval Studies and its eScholarship environment) and of New England at Armidale. The second element is the examination of the repertory from a performative standpoint. Using world-class performers with an extensive track record in the performance of medieval polyphony, and building on the PI's experience in this area, Cantum pulcriorem invenire investigates the questions of rhythm and metre in the conductus by bringing various solutions to the question into a performative arena and creating recordings both on CD with a commercial label and as internet-delivered sound files. The two PhD dissertations will work in detail on areas of the repertory that the project itself will treat coherently but in general terms: the question of the relationship between the English conductus and other genres and the issue of intertextual links both within the conductus repertory itself between the conductus and other genres.The project will be disseminated in the form of a monograph, published by Cambridge University Press, recordings in two formats (three commercial recordings with Hyperion; a series of working documents placed on the PRIMO (Practice as Research in Music Online) website), and an online catalogue of the repertory hosted by the University of Sydney's e-scholarship environment.