Music about music – self-parodies in the early modern mass

该项目致力于研究迄今未被探索的在自己的模型上创作复调体裁的现象--这一现象最早在15世纪初被观察到，并在16世纪日益流行。为此，约130首大众作曲语料库将被质疑其将自己的音乐翻译成新的自己的音乐的技术和概念。利用自我戏仿的例子，该项目的目的既是为了评价音乐学文艺复兴研究的翻译方法，也是为了突出约1420年至1600年这一历史时期作为复调大众作曲变化的重要时代。如果这些自我借用的技巧被理解为文化话语环境的一部分，那么15世纪和16世纪发展起来的作曲家身份的复杂形成可以从他们的对象中进行讨论和解读，从而成为跨学科的。将与“引文：文艺复兴模仿大众项目”(CRIM)合作，使用计算机辅助分析工具，这些工具非常适合于审查相互间的参考文献。作为一个合作项目的一部分，所获得的数据也将输入美因茨海量数据库。

The project is devoted to the hitherto unexplored phenomenon of composing polyphonic masses on one’s own models – a phenomenon first observed in the early 15th century, with increasing popularity in the 16th century. For this purpose, a corpus of about 130 mass compositions will be questioned about its techniques and concepts of translating own music into new, own music. Using the example of self-parody, the aim of the project is both to appraise translational approaches for musicological Renaissance research and to highlight the historical period from c. 1420 to 1600 as a significant era of changes in composing polyphonic masses. If these techniques of self-borrowing are understood as part of a cultural, discursive environment, the complex formation of the composer’s identity, which developed in the 15th and 16th century, can be discussed and deciphered from their objects, and thus in turn become interdisciplinary. In cooperation with the project Citations: The Renaissance Imitation Mass Project (CRIM), tools of computer-aided analysis will be used, which are ideally suited for the examination of intertextual references. The data obtained will also be entered into the Mainz MassDataBase (MDB) as part of a cooperative project.