权益分类	功能权益	普通用户	{{item.name}}会员
{{category.name}}	{{benefitItem.name}}

_Cantum pulcriorem invenire_: Thirteenth-Century Latin Poetry and Music

_Cantum pulcriorem invenire_：十三世纪拉丁诗歌和音乐

基本信息

批准号：
AH/H034226/1
负责人：
Mark Everist
金额：
$ 76.2万
依托单位：
University of Southampton
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH034226%2F1
关键词：
_Cantum pulcriorem invenire_Thirteenth Century

项目摘要

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 The recataloguing of the project depends heavily on the unpublished work of the late Gordon Anderson (d. 1981), an Australian musicologist, and is conducted in collaboration with the Universities of Sydney (both its Centre for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.

在漫长的13世纪（公元1170年至公元1320年），出现了三种连贯的复调音乐曲目：称为organum的礼拜圣歌的背景，源自organum部分的颂歌，以及指挥。在过去的150年里，风琴和圣歌一直是音乐学研究的主题，令人印象深刻，而指挥——尽管它是音乐史上第一个新创作的复调曲目——在某种程度上仍然处于阴影之中。虽然汇编已经编目，但在这些书目基础上建立的工作很少，尽管非常杰出。因此，指挥站在这个项目的中心，将拉丁诗歌和音乐融合在一个流派中。Cantum pulcriorem invenire（项目的标题引用了论文Ars cantus mensurabilis的句子，该论文指导未来的指挥作曲家首先要“找到更美丽的旋律”）试图理解指挥的拉丁诗歌和音乐，以期将其与organum和moet一起恢复，它在所有13世纪理论家的眼中和话语中享有的地位。这种理解是通过对剧目和年表、诗歌和音乐的分析，以及对这种类型的节奏和韵律的高度争议问题的回顾而获得的。然后，这就成为了考察韵律功能、互文的基础，从而导致了对指挥在文学原曲语境中作为混合形式的功能的研究。该研究还考虑了仙人掌的地理方面（它在英格兰、伊比利亚半岛和西南德语地区的特殊种植）以及它在1300年左右不断变化的通用地平线上的命运。这项研究包括四个要素：专著，整个剧目的重新编目，以实践为主导的研究，为项目的一些关键部分做出贡献，以及两个博士学位。该项目的重新编目在很大程度上依赖于已故澳大利亚音乐学家戈登·安德森（1981年）未发表的作品，并与悉尼大学（包括其中世纪研究中心和奖学金环境）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审视剧目。Cantum pulcriorem invire使用世界级的表演者，在中世纪复调演奏方面有着广泛的记录，并以PI在这一领域的经验为基础，通过将问题的各种解决方案带入表演舞台，并在带有商业标签的CD上创建录音，并作为互联网传输的声音文件，调查了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剧目领域：英国指挥家与其他流派之间的关系问题以及指挥家与其他流派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，两种格式的录音（Hyperion的三份商业录音；PRIMO（在线音乐实践研究）网站上的一系列工作文件），以及由悉尼大学电子奖学金环境主办的在线曲目目录。