Cantum Pulcriorem invenire - Thirteenth-Century Latin Poetry and Music: Workshop, Performance and Impact (CPI-III)

Cantum Pulciorem invenire - 十三世纪拉丁诗歌和音乐：研讨会、表演和影响（CPI-III）

• 批准号: AH/M006425/1
• 负责人: Mark Everist
• 金额: $ 10.13万
• 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: 2015
• 资助国家: 英国
• 起止时间: 2015 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FM006425%2F1
• 关键词: Cantum; Pulcriorem; invenire; Thirteenth; Century

'Cantum pulcriorem invenire - Thirteenth-Century Latin Poetry and Music: Workshop, Performance and Impact' takes the knowledge that has been gained from the AHRC-funded 'Cantum pulcriorem invenire: Thirteenth-Century Latin Poetry and Music' project (CPI-I, which ran from 2010 to 2014), and engages with communities on which the original project had little opportunity to make any impact. The original research started from the premise that 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 - has remained somewhat in the shadows. While 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.Those parts of the original project that engaged with performance as a path to impact did so via CD studio recordings. Using world-class performers with an unrivalled track record in the performance of medieval polyphony, and building on the PI's experience in this area, CPI-I investigated the questions of rhythm and metre in the conductus by bringing various solutions to the question into a performative arena and creating recordings on CD with a commercial label. Not only was this very successful, but it also engendered a number of live concert bookings coupled to some workshop activity. From this ad hoc work, it became clear that there was real scope for massively enhancing the impact of the project through innovative and creative approaches to interactive workshops. The current project proposes eight events that each consist of an interactive workshop and a formal concert.The key pathways to impact for the project are twofold: a network of partnerships and a series of innovative workshops. The project benefits from eight partners, five in the UK and three in continental Europe: Brighton, Cambridge, Durham, Edinburgh, York, Barcelona, Nieder-Olm and Radovljica. All our concert promoters or festival managers have responsibilities not just for developing audiences but for developing public engagement with other bodies; they are ideal partners for a research project seeking to enhance its impact. We are proposing a series of workshops that will explore various routes to engage with communities that extend beyond those who simply buy the CDs produced by the original research. To do this we will approach questions of notation, performance, poetic and musical composition as well as presenting introductions that characterise lecture recitals and similar sorts of events.A critical part of the project is the monitoring, evaluation and documentation of the impact that the research makes. Our central tools are the anonymous questionnaire, the one-to-one interview and the video recording; these documents and their analysis will form the lasting legacy of the project, and will be mounted on the project website to serve as materials and a prompt for other ensembles wishing to undertake similar work.

“Cantum pulcriorem invenire -13世纪拉丁诗歌和音乐：研讨会，表演和影响”采用了从AHRC资助的“Cantum pulcriorem invenire：13世纪拉丁诗歌和音乐”项目（CPI-I，从2010年到2014年）中获得的知识，并与原始项目几乎没有机会产生任何影响的社区进行互动。最初的研究始于这样一个前提，即漫长的十三世纪（c1170至c1320）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，最初来自organum和conductus部分的经文歌。在过去的150年里，风琴和经文歌一直是令人印象深刻的音乐学研究的主题，而指挥-尽管它是新创作的复调音乐的第一个一致的剧目-仍然有点处于阴影之中。虽然《汇编》已经编目，但在这些书目基础上的工作虽然非常出色，却很少。因此，指挥是这个项目的中心，将拉丁诗歌和音乐融合在一个单一的流派中。原始项目中那些与表演有关的部分通过CD录音室录音来实现。在中世纪复调音乐的演奏方面，国际钢琴家协会（CPI-I）聘请了世界级的演奏家，他们在这方面有着无与伦比的记录，并以PI在这方面的经验为基础，通过将各种解决方案引入表演竞技场，并将录音制作成带有商业标签的CD，研究了指挥中的节奏和节拍问题。这不仅是非常成功的，但它也产生了一些现场音乐会预订加上一些研讨会活动。从这项临时工作中可以清楚地看到，通过创新和创造性的互动讲习班办法，大规模加强项目的影响是有真实的余地的。目前的项目提议举办八项活动，每项活动包括一个互动讲习班和一个正式音乐会，项目产生影响的主要途径有两个：一个伙伴关系网络和一系列创新讲习班。该项目受益于八个合作伙伴，五个在英国，三个在欧洲大陆：布莱顿，剑桥，达勒姆，爱丁堡，约克，巴塞罗那，尼德尔-奥尔姆和拉多夫利卡。我们所有的音乐会推广人或节日经理不仅有责任发展观众，而且有责任发展与其他机构的公众参与;他们是寻求提高其影响力的研究项目的理想合作伙伴。我们提议举办一系列研讨会，探索各种途径，与那些不仅仅购买原始研究制作的CD的社区进行接触。要做到这一点，我们将处理的符号，性能，诗歌和音乐创作的问题，以及介绍，介绍讲座独奏会和类似的活动。该项目的一个关键部分是监测，评估和文件的影响，研究使。我们的主要工具是匿名问卷、一对一访谈和录像;这些文件及其分析将成为项目的持久遗产，并将被安装在项目网站上，作为材料和提示，供其他希望开展类似工作的团体使用。