The Production and Reading of Music Sources, 1480-1530 (PRoMS)

音乐源的制作和阅读，1480-1530 (PRoMS)

• 批准号: AH/H037969/2
• 负责人: Thomas Schmidt
• 金额: $ 56.24万
• 依托单位: University of Manchester
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2012
• 资助国家: 英国
• 起止时间: 2012 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FH037969%2F2
• 关键词: Production; Reading; Music; Sources; 1480

Renaissance sources of polyphonic music not only convey a rich repertoire of some of the most impressive music ever written; they are also objects of striking physical appearance and often great artistic beauty. They are also among the most complex sources of their time, typically combining verbal text, musical notation and other graphic devices. This project presents the first systematic study of mise-en-page - the ways in which these three layers interact on the page - for the period c.1480-1530, when the transmission of polyphonic music had spread across the whole of Europe and had achieved its fullest variety in terms of source and repertoire types. We will investigate the ways in which meaning is constructed through these interactions by the makers and users of these sources. The project will achieve its objectives by expanding approaches developed for text manuscripts, incorporating aspects specific to musical sources and combining them with digital technology; it will also transfer the results of the investigation to present-day performances.Mise-en-page forms an integral part of music sources and therefore provides crucial information for the understanding of the repertoire that is transmitted through them. Its complexity is particularly great in sources containing polyphonic music notation, where the different voice parts are arranged to be read separately by the performers, yet to be performed simultaneously. Some sources, albeit mostly earlier and/or exceptional ones, have been examined in detail from this viewpoint, but a unified methodology and a consistent terminology are now required.We will analyse and present the material in two different ways. On the one hand, we will compile a database of mise-en-page information for all extant sources from this period (c.300 manuscripts and exemplars of c.80 editions) to facilitate comparisons and codification. As part of this work, we will develop a template for the description of page information and compile a terminological glossary which can become a standard resources for future research. On the other hand, we will analyse and compare a sample of 25 sources (20 manuscripts and 5 prints) in detail. The selected sources encompass the full geographical and chronological spread as well as the full breadth of formats, layouts, functions, repertories, languages and levels of decoration which can be found during this period. In the online presentation of these sources, we will map correlations between visual and textual elements through electronic markup, establish cross-references to the database and to other images with similar (or opposing) strategies of visualization, and provide a prose commentary for every selected opening. The selected sources will also be available for online browsing in their entirety, enabling users to contextualize the conclusions within the wider context of the source.Finally, in collaboration with the vocal ensemble Cappella Pratensis, we will explore with performers how an understanding of the mise-en-page (which 'disappears' or is distorted in modern transcription) informs how the music is sung and heard. The performances and a combined CD/DVD release will include multimedia projections of marked-up sources to convey this to the audience, providing a guide through the various visual layers.

文艺复兴时期的复调音乐来源不仅传达了一些最令人印象深刻的音乐创作的丰富曲目；它们也是具有引人注目的外表和伟大的艺术美感的对象。它们也是当时最复杂的资料来源之一，通常结合了口头文本、音乐符号和其他图形设备。本项目首次系统地研究了1480-1530年间复调音乐在整个欧洲的传播，并在来源和曲目类型方面达到了最大的多样性。复调音乐是指这三个层次在页面上相互作用的方式。我们将研究这些来源的制造者和使用者通过这些互动来构建意义的方式。该项目将通过扩展为文本手稿开发的方法来实现其目标，将音乐来源的特定方面与数字技术相结合；它还将把调查结果转移到当今的表演中。乐谱构成了音乐来源的一个组成部分，因此为理解通过它们传播的曲目提供了至关重要的信息。在包含复调乐谱的资料中，它的复杂性特别大，在复调乐谱中，不同的声部被安排由表演者分开朗读，但同时演奏。从这一观点详细审查了一些来源，尽管大多是较早的和（或）例外的来源，但现在需要统一的方法和一致的术语。我们将以两种不同的方式分析和呈现这些材料。一方面，我们将为这一时期的所有现存资料（约300年的手稿和约80年版本的样本）编制一个网页内资料数据库，以方便比较和编纂。作为这项工作的一部分，我们将开发一个描述页面信息的模板，并编写一个术语术语表，它可以成为未来研究的标准资源。另一方面，我们将详细分析和比较25个来源（20个手稿和5个印刷品）的样本。所选的来源包括完整的地理和时间分布，以及在这一时期可以找到的格式、布局、功能、剧目、语言和装饰水平的全部广度。在这些资源的在线呈现中，我们将通过电子标记映射视觉和文本元素之间的相关性，建立对数据库和其他具有类似（或相反）可视化策略的图像的交叉引用，并为每个选定的开头提供散文评论。所选资料也将供在线完整浏览，使用户能够在更广泛的资料背景下将结论置于上下文中。最后，我们将与声乐合奏团Cappella Pratensis合作，与表演者一起探索如何理解页面上的韵律（在现代转录中“消失”或扭曲），从而影响音乐的演唱和聆听方式。表演和联合发行的CD/DVD将包括标记来源的多媒体投影，向观众传达这一点，通过不同的视觉层次提供指导。

项目成果

Journal of the Alamire Foundation 6/2 - 2014

阿拉米尔基金会杂志 6/2 - 2014

• 发表时间: 2014
• 作者: Publishers B

The Production and Reading of Music Sources

音乐源的制作与阅读

• 发表时间: 2018
• 作者: Schmidt, T

The Cambridge History of Fifteenth-Century Music

剑桥十五世纪音乐史

• DOI: 10.1017/cho9781139057813.028
• 发表时间: 2015
• 作者: Plumley Y