Performance, Aesthetics, and Compositional Technique in Continental Sacred Music, c. 1520-c.1560

大陆神圣音乐中的表演、美学和作曲技术，c。

• 批准号: AH/F015720/1
• 负责人: Stephen Rice
• 金额: $ 27.32万
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF015720%2F1
• 关键词: Performance; Aesthetics; Compositional; Technique; Continental

The proposed research aims to improve understanding of how composers and performers interacted in the development of sacred polyphony after Josquin Desprez (d. 1521). Since Josquin's music is seen as an artistic pinnacle (he has often been characterized as a Renaissance Beethoven), the generation that followed him has received very little attention from scholars or performers. Moreover, the qualities of 'transparency' and 'clarity' that Josquin epitomizes (which are achieved to some extent through the use of very spare textures) are prized in comparison with the richer sonorities preferred by the younger generation. In striving to build a more impressive sound than that of the period 1500-20, these composers necessarily had to extend their conception of tonality: moreover, at this time the modal system, which had previously been used to classify plainchant melodies, begins to become linked by theorists with polyphonic writing. This resulted in tensions between small-scale contrapuntal considerations (how to create consonance between two or more voices) and the larger modal organization (how the form of the piece is governed by relationships between tonal centres). They also increased the number of voice parts in their compositions, moving from a norm of four voices to five, six, or more. The complexity of their music is thus much greater than that of previous composers, and this causes problems of analysis, of performance, and consequently of reception.The notation of music at this period is superficially similar to that of modern music (other than usually appearing in individual parts rather than full score), but incorporates significant nuances due to its underprescriptiveness by our standards. These would typically have been resolved during rehearsals, with the composer present (many composers were themselves singers); sixteenth-century witnesses describe this process. In order to gain a fuller understanding of the negotiation between composer and performer in the sixteenth century, it is therefore necessary to recreate the circumstances in which composers and performers worked, with the editor taking the place of the composer. By working carefully on details such as inflections (sharps and flats are rarely notated, though often necessary), underlay (often filled in incorrectly by printers' editors, and rarely specific), and tuning (vital to the sonority that is an important part of this music's expressivity, and again distinct from modern practice), it will be possible to derive significant insights from performance that will be of benefit both to the scholarly community and to the general public.The research will be disseminated through concerts, CDs to be released on the Hyperion label, a scholarly edition and at least one scholarly article. In the first year I shall work on the music of Pierre Moulu (?1484-c.1550), composer related to the French royal court and pioneer of advanced contrapuntal techniques: this will result in a CD recording and the inception of a critical edition of his music (to be completed in the second year). In the second year I shall concentrate on Nicolas Gombert (c.1495-c.1557), a musician at the Spanish Habsburg court, whose music is particularly rich in the complexities of tonality, inflection etc. mentioned above. Being slightly younger than Moulu and working in a different area, Gombert will provide useful control material for the study of composing practice. I shall also make a CD of music by Loyset Piéton (fl. 1530-45) another overlooked composer. In the final year the research strands will be brought together and one or more articles prepared which will analyse the findings; a third CD will also be recorded. Concert-giving will be continual during the course of the Fellowship.

提出的研究旨在提高对Josquin Desprez （d. 1521）之后神圣复调发展中作曲家和表演者如何相互作用的理解。由于约斯金的音乐被视为艺术的顶峰（他经常被描述为文艺复兴时期的贝多芬），他之后的一代很少受到学者或表演者的关注。此外，Josquin所体现的“透明”和“清晰”的品质（在某种程度上是通过使用非常简洁的纹理来实现的）与年轻一代所偏爱的更丰富的声音相比，更受重视。为了努力创造出比1500-20年间更令人印象深刻的声音，这些作曲家必须扩展他们的调性概念：此外，在这个时候，以前用于分类平调旋律的调式系统开始被理论家与复调写作联系起来。这导致了小规模对位考虑（如何在两个或多个声音之间创造和谐）和更大的模态组织（作品的形式如何由音调中心之间的关系所控制）之间的紧张关系。他们还增加了作品中声部的数量，从标准的四个声部增加到五个、六个或更多。因此，他们的音乐比以前的作曲家要复杂得多，这就造成了分析、演奏和接受的问题。这一时期的音乐符号表面上与现代音乐相似（除了通常出现在单个部分而不是满分），但由于我们的标准不够规范，因此包含了重要的细微差别。这些问题通常会在排练时得到解决，有作曲家在场（许多作曲家本身就是歌手）；16世纪的目击者描述了这个过程。因此，为了更全面地了解16世纪作曲家和演奏家之间的协商，有必要重新创造作曲家和演奏家工作的环境，其中编辑代替了作曲家。通过仔细研究细节，如屈折（升调和降调很少被标注，尽管通常是必要的），底纹（通常被印刷编辑错误地填写，很少具体）和调音（对这种音乐表现力的重要组成部分的响度至关重要，并且再次不同于现代实践），将有可能从表演中获得重要的见解，这将有利于学术界和公众。这项研究将通过音乐会、以Hyperion厂牌发行的cd、学术版和至少一篇学术文章来传播。第一年，我将学习皮埃尔·穆卢（Pierre Moulu, 1484-c）的音乐。1550年)，与法国皇室有关的作曲家和先进对位技术的先驱：这将导致一张CD录音和他的音乐评论版的开始（将在第二年完成）。第二年，我将集中研究尼古拉斯·冈伯特（约1495-c）。1557)，一位西班牙哈布斯堡宫廷的音乐家，他的音乐在调性、变化等方面的复杂性特别丰富。冈伯特比穆卢年轻一点，在不同的领域工作，他将为作曲实践的研究提供有用的控制材料。我还将制作一张由另一位被忽视的作曲家洛塞特·皮萨姆顿（1530- 1545）创作的CD。在最后一年，将把所有的研究内容汇集在一起，并编写一篇或多篇文章来分析研究结果；还将录制第三张CD。奖学金期间将持续举办音乐会。