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/H037969/1
• 负责人: Thomas Schmidt
• 金额: $ 108.44万
• 依托单位: Bangor University
• 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%2FH037969%2F1
• 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不仅传达了一些最令人印象深刻的音乐作品的丰富曲目，而且它们也是引人注目的物理外观和通常伟大的艺术美的对象。它们也是最复杂的时间来源之一，通常结合了文字，音乐符号和其他图形设备。该项目首次系统地研究了mise-en-page（这三个层次在页面上相互作用的方式），研究时间为1480 -1530年，当时复调音乐的传播已经遍布整个欧洲，并在来源和曲目类型方面实现了最大的多样性。我们将研究这些来源的制造者和使用者通过这些互动构建意义的方式。该项目将通过扩大为文本手稿开发的方法来实现其目标，将音乐来源的具体方面纳入其中并将其与数字技术相结合;它还将把调查结果转移到当今的表演中，Mise-en-page是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重要信息。它的复杂性在包含复调音乐符号的来源中特别大，其中不同的声音部分被安排为由表演者单独阅读，但要同时进行。有些资料来源，尽管大多是较早的和/或例外的资料来源，已经从这个观点详细地加以审查，但现在需要一个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介绍这些材料。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mise-en-page信息数据库，以便于比较和编纂。作为这项工作的一部分，我们将开发一个模板的页面信息的描述，并编制一个术语词汇表，可以成为一个标准的资源，为未来的研究。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。所选资料涵盖了这一时期的全部地理和年代分布，以及格式、布局、功能、剧目、语言和装饰水平的全部广度。在这些资源的在线演示中，我们将通过电子标记映射视觉和文本元素之间的相关性，建立与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，并为每个选定的开放提供散文评论。所选的资料也将全部提供在线浏览，使用户能够在更广泛的资料背景下对结论进行语境化。最后，我们将与声乐合奏Cappella Pratensis合作，与表演者一起探讨如何理解mise-en-page（在现代转录中“消失”或被扭曲），从而了解音乐是如何被演唱和听到的。演出和CD/DVD的联合发行将包括标记来源的多媒体投影，以向观众传达这一点，通过各种视觉层提供指导。

项目成果

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