MUSLIVE: Musical Lives: Towards an Historical Anthropology of French Song, 1100-1300

音乐生活是一个跨学科的研究最早的幸存的法国歌曲剧目在他们的创作和早期传播期间，1100-1300。在音乐学和文学研究中，这些传统长期以来一直具有特殊的地位，是新兴的欧洲诗歌和音乐经典的基石。虽然迄今为止，学术界已经建立了重要的文献学方法，用于恢复歌曲作为文本，并对它们的诗歌和音乐工艺产生批判性的见解，但《音乐生活》提出了一个激进的重新定位：关注最早制作和演唱这些歌曲的人。它开发了新的以语言学和实践为主导的歌曲分析方法，在通过歌曲进行社交网络的背景下，跨越广泛的地理和传统，研究改编和互文网络的音乐过程。MUSLIVE将音乐证据与在个人，家庭和社区表达结构中探索歌曲制作者和表演者，并跨越性别，世代，种族和等级的区别;它将通过人们大规模流动时代的行程和遭遇来追踪歌曲传播（十字军东征、朝圣、流放、经济移民）;它将扩大音乐相遇的通常领域，特别是包括阿拉伯语和希伯来语的抒情诗，以建立一个更大的抒情传统，从西欧穿过地中海到黎凡特该项目不仅对音乐学和文学研究学科，而且对更广泛的历史学都有深远的影响。除了继续发展这一时期法国文学的新的跨国方法外，该项目还呼吁人们注意到迄今为止大多数历史学家的叙述中经常被认为是边缘的证据，为历史人类学发展了一个模型，该模型将歌唱和歌曲制作作为人类身份和关系的形成和表达的关键。

Musical Lives is an interdisciplinary study of the earliest surviving French song repertories in the period of their creation and early transmission, 1100-1300. Within musicology and literary studies, these traditions have long had special status as a cornerstone of the emerging European poetic and musical canon. While scholarship to date has established important philological methods for recuperating songs as texts, and for generating critical insight into their poetic and musical craft, Musical Lives proposes a radical reorientation: a focus on the people who first made and sang these songs. It develops new philological and practice-led methodologies for song analysis, examining musical processes of adaptation and intertextual networking in the context of social networking through song, across wide geographies and traditions. MUSLIVE will couple musical evidence with exploration of song's makers and performers within structures of individual, family and community expression, and across distinctions of gender, generation, race and rank; it will trace song transmission through itineraries and encounters in an era of mass movement of people (crusade, pilgrimage, exile, economic migration); and it will widen the usual spheres of musical encounter, in particular including Arabic and Hebrew lyric, in order to establish a larger lyric tradition, from Western Europe across the Mediterranean to the Levant. The project has far-reaching implications not only for the disciplines of musicology and literary studies, but also for history more generally. As well as continuing to develop new transnational approaches to French literature of this period, the project calls attention to evidence that is often thought peripheral in most historians' accounts to date, developing a model for an historical anthropology which accounts for singing and song-making as crucial in the formation and articulation of human identities and relationships.