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

拟议的研究旨在提高对作曲家和表演者如何在Josquin Desprez（d）之后的神圣复调发展中互动的理解。1521）。由于Josquin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“透明度”和“清晰度”的品质（在某种程度上是通过使用非常稀疏的纹理来实现的）与年轻一代所喜欢的更丰富的声音相比是珍贵的。为了创造一种比1500- 1520年时期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，模态系统，以前被用来分类平原旋律，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）和更大的调式组织（作品的形式如何受到音调中心之间关系的影响）之间的紧张关系。他们还增加了作品中声部的数量，从四个声部的标准增加到五个、六个或更多。因此，他们的音乐比以前的作曲家复杂得多，这就造成了分析、演奏和接受的问题。这一时期的音乐记谱法表面上与现代音乐的记谱法相似（除了通常出现在单独的部分而不是完整的乐谱上），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解决，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谈判，有必要重新创造作曲家和演奏家工作的环境，编辑取代了作曲家。通过仔细处理细节，（升半音和降半音很少被标注，尽管经常是必要的），（经常被打印机的编辑错误地填写，很少具体），（对于这种音乐表现力的重要组成部分的响亮度至关重要，并且再次区别于现代实践），将有可能从表演中获得对学术界和公众都有益的重要见解。研究将通过音乐会传播，CD将在CD标签上发行，一个学术版和至少一篇学术文章。在第一年，我将从事皮埃尔·穆鲁的音乐工作（？1484-c.1550），作曲家与法国皇家法院和先进的对位技术的先驱：这将导致一个CD记录和开始的关键版本，他的音乐（将在第二年完成）。在第二年，我将集中讨论尼古拉斯·贡贝尔（Nicolas Gombert，c.1495-c.1557），他是西班牙哈布斯堡王朝的一位音乐家，他的音乐特别富有上文提到的音调、变音等复杂性。贡伯特比穆鲁略年轻，工作在不同的领域，他将为作曲实践的研究提供有用的对照材料。我还将制作一张洛伊塞·皮埃顿（Loyset Piéton，1530- 1545）的音乐CD，他是另一位被忽视的作曲家。在最后一年，将把研究成果汇集在一起，编写一篇或多篇文章，分析研究结果;还将录制第三张光盘。音乐会将在奖学金的过程中持续进行。

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.