_Cantum pulcriorem invenire_: Thirteenth-Century Latin Poetry and Music

漫长的十三世纪（c1170到c1320）出现了三种连贯的复调音乐曲目：称为organum的礼拜圣歌，最初来自organum部分的经文歌，以及conductus。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-尽管它是音乐史上第一个新创作的复调音乐的持续剧目-仍然处于阴影之中。虽然剧目已编目，很少的工作，虽然非常杰出，一直建立在这些书目的基础。因此，指挥曲是这个项目的核心，它将拉丁诗歌和音乐融合在一个单一的流派中。（该项目的标题引用了论文Ars cantus mensurabilis中的几行，指导未来的指挥作曲家首先“找到更美丽的旋律”）试图理解指挥的拉丁诗歌和音乐，以期将其与风琴和经文歌一起恢复，它在所有13世纪理论家眼中和言语中所享有的地位。这种理解是通过对剧目和年表，诗歌和音乐的分析，以及对该流派节奏和韵律的高度争议问题的回顾而获得的。然后，这作为一个基础上的检查的终止功能，互文，导致一个功能的研究conductus作为一个混合形式的文学prosimetrum的背景下。该研究还考虑了conductus的地理方面（其在英格兰，伊比利亚半岛和西南德语地区的特定种植）及其在1300年左右的变化中的命运。该研究涉及四个要素：一本专著，整个剧目的重新编目，实践主导的研究，以促进该项目的一些关键部分和两个博士学位。该项目的重新编目在很大程度上取决于已故的戈登安德森（d. 1981年），澳大利亚音乐学家，并与悉尼大学（其中世纪研究中心和电子奖学金环境）和阿米代尔的新英格兰大学合作进行。第二个要素是从表演角度审查《汇编》。Cantum pulcriorem invenire利用在中世纪复调音乐表演方面拥有广泛记录的世界级表演者，并建立在PI在这一领域的经验基础上，通过将各种解决方案引入表演竞技场，并在CD上创建录音，并将其作为互联网交付的声音文件，研究了指挥中的节奏和节拍问题。这两篇博士论文将详细介绍该项目本身将连贯但一般地对待的剧目领域：该项目将以专著的形式传播，由剑桥大学出版社出版，两种格式的录音（三个商业录音与录音;一系列的工作文件放在PRIMO（实践作为研究在音乐在线）网站），和由悉尼大学的电子奖学金环境主办的剧目的在线目录。

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 in the history of music - has remained somewhat in the shadows. Although 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.Cantum pulcriorem invenire (the title of the project quotes lines from the treatise Ars cantus mensurabilis that instruct would-be composers of conductus first of all 'to find a more beautiful melody') seeks to understand the Latin poetry and music of the conductus with a view to reinstating it alongside organum and motet, the position that it enjoyed in the eyes and words of all thirteenth-century theorists. This understanding is gained by an analysis of repertories and chronology, poetry and music, in conjunction with a review of the highly contested question of the genre's rhythm and metre. This then serves as the basis for an examination of cadential function, intertexts, leading to a study of the function of the conductus as a mixed form in the context of the literary prosimetrum. The research also considers geographical aspects of the conductus (its particular cultivation in England, the Iberian Peninsula and south-western German-speaking lands) and its fate on the shifting generic horizon around 1300.The research involves four elements: a monograph, a recataloguing of the entire repertory, practice-led research to contribute to some of the key parts of the project and two PhDs. The recataloguing of the project depends heavily on the unpublished work of the late Gordon Anderson (d. 1981), an Australian musicologist, and is conducted in collaboration with the Universities of Sydney (both its Centre for Medieval Studies and its eScholarship environment) and of New England at Armidale. The second element is the examination of the repertory from a performative standpoint. Using world-class performers with an extensive track record in the performance of medieval polyphony, and building on the PI's experience in this area, Cantum pulcriorem invenire investigates the questions of rhythm and metre in the conductus by bringing various solutions to the question into a performative arena and creating recordings both on CD with a commercial label and as internet-delivered sound files. The two PhD dissertations will work in detail on areas of the repertory that the project itself will treat coherently but in general terms: the question of the relationship between the English conductus and other genres and the issue of intertextual links both within the conductus repertory itself between the conductus and other genres.The project will be disseminated in the form of a monograph, published by Cambridge University Press, recordings in two formats (three commercial recordings with Hyperion; a series of working documents placed on the PRIMO (Practice as Research in Music Online) website), and an online catalogue of the repertory hosted by the University of Sydney's e-scholarship environment.