[Le Studium Conferences] Counterpoints: Renaissance Music and Scholarly Debate in the Digital Domain

The allusiveness of musical discourse is so fundamental to the Western tradition that it is hard to imagine a work that does not in some way make reference to some other composition, type or topic. Indeed, music that refers to other music has been a constant in the European tradition of the last 1000 years. Citations: The Renaissance Imitation Mass (CRIM) (https://crimproject.org) focuses on one important but neglected part of this tradition: Imitation (or Parody) Mass of the sixteenth century, in which a composer transformed a short sacred or secular piece into a long five-movement cyclic setting of the Ordinary of the Catholic Mass. The resulting works are far more than collections of quotations. The sheer scope of the transformations required the composer to thoroughly re-think the model, shifting, extending, or compressing melodies to new musical contexts and expressive purposes. Indeed, if counterpoint is a craft of combinations, then the Imitation Mass involves the art of recombination on a massive scale. 

Convenors

Prof. Richard Freedman, LE STUDIUM / Marie Skłodowska-Curie Research Fellowship  FROM Department of Music, Haverford College – US
IN RESIDENCE AT CESR (Centre d’Études Supérieures de la Renaissance) / Programme Ricercar / CNRS, University of Tours – FR

Prof. Philippe Vendrix, CESR (Centre d’Études Supérieures de la Renaissance) / CNRS, University of Tours – FR

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