PASTICCIO - Ways of Arranging Attractive Operas

在目前关于早期现代音乐家流动性的研究领域中，歌剧套曲(即最流行的一种体裁，由为歌剧表演而安排的先前存在的音乐材料组成)已经成为18世纪欧洲音乐生活中的一种典范音乐体裁。它的结构和美学不仅基于欧洲范围内音乐材料的分布和知识，而且还基于艺术天赋、作曲模式和音乐所有权的发展概念。所有这些概念不仅是由旅行的音乐家和对歌剧作品的跨地区接受塑造的，而且是由政治象征意图和经济所塑造的。该项目旨在调查研究不足的歌剧套曲，作为一种以早期现代音乐家的流动性为特征的体裁。为此，它将分析物质基础，作曲和表演创作，以及在威尼斯、伦敦、汉堡、慕尼黑、德累斯顿、弗罗茨瓦夫(布雷斯劳)和华沙等欧洲大都市和法院网络中对效仿派音乐的接受情况。一方面，追踪这种音乐传播和传播的模式，将有助于阐明戏曲创作和生产的环境。另一方面，对音乐和文学创作及其政治、社会和文化功能的分析，将使我们深入了解18世纪的中心美学和文化发展，以及它的音乐家的流动性。项目团队已经在早期现代音乐家的流动性问题上合作了三年，将通过一系列独立的项目进行这项研究，这些项目通过联合数据库的合作倡议、创建选定的Pasticcio的在线音乐版本以及定期研讨会而紧密联系在一起。在这些单独的项目中，意大利作为典范文化和波兰王室的音乐活动都将涵盖共同调查的中心点。主要目标是开发一种创新的数字基础设施，将音乐版本和历史数据库结合起来，以反映18世纪音乐的文化和美学混合。

Within the current field of studies on the mobilities of Early Modern musicians, the operatic pasticcio (i.e. a most popular genre consisting of the arrangement of pre-existing musical material for opera perfor-mances) has emerged as a paradigmatic musical genre of European musical life during the 18th century. Its structure and aesthetics were not only based on the European-wide distribution and knowledge of musical material, but also on developing concepts of artistic talent, compositional models, and musical ownership. All those concepts were shaped not only by travelling musicians and by the transregional reception of operatic productions, but by political-symbolic intentions and economics. The project aims to investigate the under-researched operatic pasticcio as a genre characterized by the mobilities of Early Modern musicians. For that, it will analyse the material basis, the compositional and performative creation, as well as the musical reception of pasticcios within a European-wide network of metropolises and courts like Venice, London, Hamburg, Munich, Dresden, Wroclaw (Breslau) and Warsaw. On the one hand, tracing such modes of musical transfer and distribution will elucidate the circum-stances for the creation and production of pasticcios. On the other hand, an analysis of the musical and literary authorship and its political, social and cultural functions encompassed by the models of pasticcio fragments and by the pasticcios themselves will give insight into both the central aesthetic and cultural developments of the 18th century and the mobilities of its musicians.The project team which has been working together for three years on questions of the mobilities of Early Modern musicians will undertake this research through a series of individual projects tightly linked through the collaborative initiatives of a joint database, the creation of online musical editions of chosen pasticcios, as well as through regular workshops. Within these individual projects, both Italy as a model culture and the musical activities of the Polish crown will cover central points of common investigation. The main objective is the development of an innovative digital infrastructure that combinates musical editions and a historical database in order to reflect the cultural and aesthetic hybridities of 18th-century music.