Agnese Pavanello
Agnese Pavanello studied Musicology at the universities of Pavia, Regensburg, Freiburg im Br., and Basel, and at the University of Fribourg, where she was awarded a PhD in musicology. After working as an academic assistant at the Universities of Salzburg and Vienna (Universität für Musik und Darstellende Kunst) and publishing articles, editions of instrumental music (Corelli, Tartini, Locatelli, Bonporti) and a book about Roman ‘concerti grossi’, she has been a member of staff for The Gaspar van Weerbeke Edition and editor of Gaspar van Weerbeke’s masses and motets. Since 2012 she is working in the Research Department of the Schola Cantorum Basiliensis in Basel (Musik-Akademie Basel / Fachhochschule Nordwestschweiz) with teaching and research assignments.
Areas of specialization and interests:
Fifteenth-century polyphonic music, especially late fifteenth-century sacred music, with a strong focus on sources and archival research; music and spirituality; music and liturgy; motets and motet cycles; relationships between poetry, music and iconography; Franco-Flemish composers in Italy (particularly Gaspar van Weerbeke); manuscript production and dissemination, with a special interest for illumination and decoration; artistic and intellectual life in fifteenth-century Italy (the Visconti and Sforza families; Rome under Sistus IV to Leo X).
Seventeenth and eighteenth-century Italian instrumental music (Arcangelo Corelli and Giuseppe Tartini among others); stylistic developments (especially the trio sonata); history and historiography of the Concerto as instrumental form; critical editing and musical philology.
Areas of specialization and interests:
Fifteenth-century polyphonic music, especially late fifteenth-century sacred music, with a strong focus on sources and archival research; music and spirituality; music and liturgy; motets and motet cycles; relationships between poetry, music and iconography; Franco-Flemish composers in Italy (particularly Gaspar van Weerbeke); manuscript production and dissemination, with a special interest for illumination and decoration; artistic and intellectual life in fifteenth-century Italy (the Visconti and Sforza families; Rome under Sistus IV to Leo X).
Seventeenth and eighteenth-century Italian instrumental music (Arcangelo Corelli and Giuseppe Tartini among others); stylistic developments (especially the trio sonata); history and historiography of the Concerto as instrumental form; critical editing and musical philology.
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Books and Edited Books by Agnese Pavanello
Und umgekehrt: Welche Wirkung hat die musikalische Interpretation
auf die Ausführung einer Choreografie? Wie stehen tänzerische
und melodische Phrasierung zueinander? Derlei Fragen
zum Verhältnis von Tanz und Musik ergeben sich sowohl bei der
praktischen Ausführung als auch bei der Erforschung historischer
‹Tanzmusik›. Entsprechend vielseitig sind die Zugänge, mit
denen dieser interdisziplinäre Band ‹Tanzmusik› vom Mittelalter
bis zur Romantik untersucht, kontextualisiert und im Sinne historischer
Musikpraxis erschließt. Im Mittelpunkt steht die Wechselbeziehung
zwischen Klang und Bewegung in verschiedenen
historischen Repertoires, Gattungen und Formen.
Contributors: BONNIE J. BLACKBURN, CRISTINA CASSIA, DANIELE V. FILIPPI, MARTINA PANTAROTTO, EDOARDO ROSSETTI, FRANCESCO ROCCO ROSSI, THOMAS SCHMIDT, DANIELE TORELLI, NORBERTO VALLI, MASSIMO ZAGGIA.
I Libroni preparati per la cappella musicale del Duomo sotto la direzione di Franchino Gaffurio sono fra le più preziose testimonianze della vita culturale a Milano fra Quattro e Cinquecento. Imponenti per dimensioni, seppur non esteticamente ricercati, i manoscritti tramandano il variegato repertorio di polifonia che risuonò fra le arcate della cattedrale ancora in cantiere in un periodo particolare e decisivo nella storia della città. Gli anni, infatti, in cui il maestro di cappella Gaffurio (in carica dal 1484) allestisce i quattro Libroni, includendovi composizioni per la messa e i vespri di autori come Compère, Weerbeke, Josquin e Isaac, oltre alle proprie, sono quelli dell’ascesa di Ludovico il Moro, della sua drammatica caduta e poi del primo dominio francese sul ducato di Milano. Gli anni, insomma, che chiudono l’epoca e l’epopea dei Visconti e degli Sforza (a prescindere dalle successive effimere restaurazioni) e riconfigurano il destino della città su orizzonti geopolitici diversi. Il presente volume raccoglie, come in un polittico, una serie di studi dedicati ai Libroni e organizzati in due pannelli: il primo di carattere interdisciplinare (con interventi sul contesto culturale, sociale e liturgico nella Milano del tempo), il secondo di taglio specificamente musicologico (con approfondimenti sul repertorio dei Libroni, dai motetti missales alle composizioni per l’Ufficio). Completa l’opera un nuovo Catalogo dei Libroni, che si propone come punto di riferimento per ogni futura esplorazione dei manoscritti gaffuriani.
Online Resources by Agnese Pavanello
It includes a digital reproduction of the four manuscripts, and their full inventory and catalogue. Forthcoming in 2020 is a digital critical edition of selected motet cycles, and further resources will follow. Interlinked with other online reference works (notably the Motet Cycles Database), it is provided as an open-access research tool of interest not only to musicologists, but also to students and scholars in various disciplines: codicology, paleography, liturgy, Sforza studies, and medieval/early modern studies in general.
The database is an online research tool for musicologists, musicians, and interdisciplinary scholars developed within the SNF research project Motet Cycles (c. 1470-c.1510): Compositional Design, Performance, and Cultural Context (2014-2017).
The database aims at mapping the repertory of polyphonic motet cycles of the period c.1470-c.1510, based on the characteristics of the repertory itself and on the specific modalities of its transmission. The database has been conceived primarily as a working tool modelled on the needs of the project team, as a way to share and compare data and textual references. The selection of the repertory and the corpus of data remain in any case open to future enrichment, and the database is to be considered as a work in progress.
Editions by Agnese Pavanello
Gaspar van Weerbeke, born around 1450 in the Flemish city of Oudenaarde, was one of the most acclaimed composers of the Josquin generation, active primarily in Milan and Rome. This volume contains the composer’s two main settings of liturgical texts, other than the masses, his Lamentatio Jeremie prophete and Magnificat octavi toni, as well as the six songs and instrumental wrks that bear an attributin to the composer. Conflicting and uncertain attributions raise questions about the authorship of these songs, and arguments in favor of an against Weerbeke are discussed in the introduction and individual work commentaries. The appendices contain the surviving tablature versons of these songs, a further opus dubium, and a related song.
Articles and Book Chapters by Agnese Pavanello
Und umgekehrt: Welche Wirkung hat die musikalische Interpretation
auf die Ausführung einer Choreografie? Wie stehen tänzerische
und melodische Phrasierung zueinander? Derlei Fragen
zum Verhältnis von Tanz und Musik ergeben sich sowohl bei der
praktischen Ausführung als auch bei der Erforschung historischer
‹Tanzmusik›. Entsprechend vielseitig sind die Zugänge, mit
denen dieser interdisziplinäre Band ‹Tanzmusik› vom Mittelalter
bis zur Romantik untersucht, kontextualisiert und im Sinne historischer
Musikpraxis erschließt. Im Mittelpunkt steht die Wechselbeziehung
zwischen Klang und Bewegung in verschiedenen
historischen Repertoires, Gattungen und Formen.
Contributors: BONNIE J. BLACKBURN, CRISTINA CASSIA, DANIELE V. FILIPPI, MARTINA PANTAROTTO, EDOARDO ROSSETTI, FRANCESCO ROCCO ROSSI, THOMAS SCHMIDT, DANIELE TORELLI, NORBERTO VALLI, MASSIMO ZAGGIA.
I Libroni preparati per la cappella musicale del Duomo sotto la direzione di Franchino Gaffurio sono fra le più preziose testimonianze della vita culturale a Milano fra Quattro e Cinquecento. Imponenti per dimensioni, seppur non esteticamente ricercati, i manoscritti tramandano il variegato repertorio di polifonia che risuonò fra le arcate della cattedrale ancora in cantiere in un periodo particolare e decisivo nella storia della città. Gli anni, infatti, in cui il maestro di cappella Gaffurio (in carica dal 1484) allestisce i quattro Libroni, includendovi composizioni per la messa e i vespri di autori come Compère, Weerbeke, Josquin e Isaac, oltre alle proprie, sono quelli dell’ascesa di Ludovico il Moro, della sua drammatica caduta e poi del primo dominio francese sul ducato di Milano. Gli anni, insomma, che chiudono l’epoca e l’epopea dei Visconti e degli Sforza (a prescindere dalle successive effimere restaurazioni) e riconfigurano il destino della città su orizzonti geopolitici diversi. Il presente volume raccoglie, come in un polittico, una serie di studi dedicati ai Libroni e organizzati in due pannelli: il primo di carattere interdisciplinare (con interventi sul contesto culturale, sociale e liturgico nella Milano del tempo), il secondo di taglio specificamente musicologico (con approfondimenti sul repertorio dei Libroni, dai motetti missales alle composizioni per l’Ufficio). Completa l’opera un nuovo Catalogo dei Libroni, che si propone come punto di riferimento per ogni futura esplorazione dei manoscritti gaffuriani.
It includes a digital reproduction of the four manuscripts, and their full inventory and catalogue. Forthcoming in 2020 is a digital critical edition of selected motet cycles, and further resources will follow. Interlinked with other online reference works (notably the Motet Cycles Database), it is provided as an open-access research tool of interest not only to musicologists, but also to students and scholars in various disciplines: codicology, paleography, liturgy, Sforza studies, and medieval/early modern studies in general.
The database is an online research tool for musicologists, musicians, and interdisciplinary scholars developed within the SNF research project Motet Cycles (c. 1470-c.1510): Compositional Design, Performance, and Cultural Context (2014-2017).
The database aims at mapping the repertory of polyphonic motet cycles of the period c.1470-c.1510, based on the characteristics of the repertory itself and on the specific modalities of its transmission. The database has been conceived primarily as a working tool modelled on the needs of the project team, as a way to share and compare data and textual references. The selection of the repertory and the corpus of data remain in any case open to future enrichment, and the database is to be considered as a work in progress.
Gaspar van Weerbeke, born around 1450 in the Flemish city of Oudenaarde, was one of the most acclaimed composers of the Josquin generation, active primarily in Milan and Rome. This volume contains the composer’s two main settings of liturgical texts, other than the masses, his Lamentatio Jeremie prophete and Magnificat octavi toni, as well as the six songs and instrumental wrks that bear an attributin to the composer. Conflicting and uncertain attributions raise questions about the authorship of these songs, and arguments in favor of an against Weerbeke are discussed in the introduction and individual work commentaries. The appendices contain the surviving tablature versons of these songs, a further opus dubium, and a related song.
This paper proposes a new analytical approach to the repertory of Weerbeke’s ‘free’ Marian motets, with the goal of interpreting the compositional ideas which led to his structural choices.
A main aspect of the investigation concerns the composer’s use of pre-existent melodic material or melodic formulae not easily identified in small-scale pieces, where traditional cantus firmus technique is not employed. A closer look at the design and compositional technique of these motets allow us to gain new insights into Weerbeke as a composer of motets in term of stylistic choices and aesthetic approach. This has interesting implications for the chronology of composition. On the basis of the analytical results, it is possible to show that some of these short motets may have been composed as part of longer performances as motet cycles.
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...
Agnese Pavanello starts by questioning the notion of “Milanese style”. Given the dearth of concrete information regarding both the “Milanese taste in polyphonic music” be-fore the 1470s and the use of polyphony during liturgy in the Franco-Flemish area in the same period, she turns to the tradition of the texts set in Weerbeke’s cycles in order to establish the problem on a new basis. By tracking some of the texts set in Ave mundi domina, she shows how Weerbeke used rhythmic prayers which are often found in the Franco-Flemish area whereas they are undocumented in Milan, and generally in Italy. In particular, an ample section of the cycle makes use of such texts and is characterised by motivic references between the motets: might that be a sign that Weerbeke was inspired, for his motetti missales, by practices of accompanying liturgical services with motets already current in his area of origin? Furthermore, in Weerbeke’s way of setting rhythmic prayers by means of trochaic sesquialtera passages Pavanello sees a possible heritage of the rich tradition of singing hymns and sequences in rhythmicised polyphony. While comparing the two Marian cycles by Weerbeke, Pavanello suggests that the wish to include prayers provided with indulgences (as in the case of the so-called Gaudia Mariae) might have played a role in the textual design of the cycles. The results of her analyses and those of parallel samples regarding other cycles induce her to emphasise the agency of the composer in the process of selecting and tailoring the texts. Seen from this perspective, then, the role of Franco-Flemish composers in “inventing” the motetti missales might have been more autonomous and less heavily influenced by the Milanese locale than studies based on different approaches assume and maintain.
memory of the violinist from Pirano."
Conference of the Schola Cantorum Basiliensis as part of the project "L'arte musicale di Giuseppe Torelli (1658–1709)"
Das diesjährige Symposium der Schola Cantorum Basiliensis fragt nach den Möglichkeiten, die Musiker:innen für diese Übersetzungsarbeit zur Verfügung stehen, und wie sich diese mit historisch informierter Musikpraxis einerseits und heutigem Konzertbetrieb und Publikumserwartungen andererseits verknüpfen lassen. Wie also kann historische Distanz überbrückt werden? Welche Möglichkeiten gibt es, die einem historischen Musikstück zugehörige Emotionalität in der Aufführung umzusetzen? Antworten dazu beeinflussen die Interpretationsentscheidungen für alle Parameter, über die sich «Emotion» klanglich, auditiv und visuell vermittelt.
Die Beiträge des Symposiums werden die vielfältigen Aspekte exemplarisch angehen: Beispielsweise wird das Phänomen der emotionale Ansteckung beim Musizieren und Musik-Hören aus historischer wie aus neurowissenschaftlicher und kognitiver Perspektive diskutiert; historische Hörerwartungen und Erwartungen an das Affiziert-Werden und an das Ausdrücken Emotionen (von der Renaissance bis zur Romantik) werden erörtert im Hinblick auf Aneignung bzw. Umsetzung in unserer heutigen Zeit; transkulturelle und interdisziplinäre Positionen in Bezug auf den Ethos und das Verhältnis von Emotion und Rationalität erhalten ebenso einen Raum, insofern sie für die musikalisch-performative Realisierung relevant sind. Konkrete performative Umsetzungen bietet unter anderem das Konzert «The Language of Pain» (Ensemble Theatro dei cervelli) mit Madrigalen aus Monteverdis 8. Madrigalbuch.
Vom Mittelalter bis in die Zeit um 1800 gibt es ein breites Spektrum von 'Tanzmusik'. Es reicht vom Tanz im rituellen Kontext über funktionale Tanz- oder Ballettmusik bis hin zu instrumentaler oder vokaler Musik, die vom Tanz nur noch den Namen behalten hat, wie etwa die Ballata oder Tanzsätze in Sinfonien. In allen diesen Formen zeigt sich ein jeweils unterschiedliches Verhältnis von Klang und Bewegung.
Die Beiträge des Symposiums untersuchen die Interaktion von Musik und Tanz und beleuchten anhand der Leitfragen u. a. folgende Punkte: Die Rolle des Rhythmus oder der choreographischen Bewegung für die Gestaltung von Melodie und Phrasenbildung; die wechselseitige Strukturbildung; der Einfluss auf die Dynamik, Rhetorik, Form und Ästhetik eines Tanzstückes. Durch die verschiedenen Perspektiven der interdisziplinären Beiträge möchten wir Impulse für die historisch informierte Musikpraxis gewinnen.
Printed version (without the last-moment changes)
(1666-1747)
International Symposium
Modena, 2-4 December 2016
The Festival Musicale Estense “Grandezze & Meraviglie” and the Gruppo Arcomelo 2013 are organizing an international symposium on the Bononcini family during the first weekend of December 2016. The conference will focus on the period that begins with the artistic début of Giovanni Maria (Primi frutti del Giardino musicale op. 1, 1666)— launching the golden age of the Modena violin school—through the European success of the Musico Prattico (1673), paralleling that of the ducal court after the marriage (also in 1673) of Maria Beatrice d’Este and the Duke of York James Stuart, and the second generation of Bononcini musicians (Giovanni and Antonio Maria), who were instrumentalists and opera composers of great international renown.
Objectives of the conference are both to explore the life, works, and influence (in a European perspective) the Bononcinis had on Emilian instrumental and vocal music, and to shed light on the circulation of music and musicians from Emilia, and on issues of performance practice. Although preference will be given to papers dealing with these three major topics, the scientific committee also invites proposals concerning other aspects of Emilian music, including the relationship between musical patronage and production, reciprocal influences between instrumental and vocal music, instrument making, etc.
The scientific committee, created three years ago for the organization of the Congresso Arcomelo 2013 (Enrico Gatti, Marc Vanscheeuwijck, Guido Olivieri, Agnese Pavanello, and Francesco Zimei) invites paper proposals through submission of an abstract. Paper presentations will be rigorously limited to 25 minutes in order to allow some time for discussion.
The (anonymous) abstract should include the title of the paper and a text of maximum 250 words, and indicate the topic and/or thesis, the state of research, the principal sources used, and a statement on the relevance and originality of the contribution. In a separate file, please indicate the paper title, first and last name of the author, e-mail address, and provide a short half-page CV.
The abstract and additional files should be sent as an attachment to [email protected] by March 31st, 2016.
The organization will host all presenters for the entire duration of the conference.
We expect a peer-reviewed publication of the proceedings. Upon their arrival in Modena presenters will be asked to provide a Word file including the complete text of their paper in the format that will be communicated in detail when the scientific committee has completed the selection of papers. After the conference presenters will have 60 days for corrections and modifications before we begin the editorial work of the proceedings.
SCIENTIFIC COMMITTEE
Enrico Gatti (Royal Conservatoire, Den Haag, NL - Conservatorio "G. B. Martini", Bologna)
Guido Olivieri (The University of Texas, Austin, USA)
Agnese Pavanello (Schola Cantorum Basiliensis, Basel, CH)
Marc Vanscheeuwijck (University of Oregon, Eugene, USA)
Francesco Zimei (Istituto Abruzzese di Storia Musicale)
This event is part of a three-year research project started at the Schola Cantorum Basiliensis in September 2014 and funded by the SNF: “Motet Cycles (c.1470–c.1510): Compositional Design, Performance, and Cultural Context” (see www.motetcycles.com).
Thanks to the patronage of the Sforza dukes, notably Galeazzo Maria and Ludovico il Moro, from the 1470s Milan became one of Europe’s musical capitals. The four “Libroni” (the last of which was heavily damaged by a fire in 1906) are the only extant witnesses of the city’s contemporary musical repertory: they are, therefore, among the most important cultural artefacts of the Milanese Renaissance. Aim of the study day is to address the main open questions regarding the origin and use of the Libroni, to contextualize them both from the perspective of musicological studies and from that of other disciplines (liturgical studies, codicology, cultural history), and to further explore the repertory they contain.
The study day will include two special events:
- An exhibition of the Libroni at the Archive of the Veneranda Fabbrica del Duomo, during which singers from the ensemble Cantus Figuratus, led by Dominique Vellard, will perform motets from Gaffurio’s “Libroni”
by reading directly from the manuscripts.
- An evening concert at the Basilica of San Calimero, entirely dedicated to musical repertoire of the “Libroni”, including pieces by Loyset Compère, Gaspar van Weerbeke and Franchino Gaffurio.
(See the programme for the venues and details)
The present project aims at marking a turning point in the research about the motetti missales, by investigating the texts, by analyzing and critically editing the music, and by further exploring their historical and liturgical-devotional context. Besides extensive archival work in Milanese archives and libraries, the project includes the first systematic and comparative study of the Gaffurius manuscripts (the so-called Libroni, held at the Archive of the Veneranda Fabbrica del Duomo di Milano). A codicological study of the Libroni will help re-define their chronology and explain how they were materially compiled and will shed new light on the transfer of musical compositions from the ducal chapel to the cathedral.
The project also includes the complete digitization of the Libroni: once made available online and enriched with metadata, it will give the scholarly community new and much awaited opportunities of investigation. Another aspect of this project will be the preparation of a critical edition of the cycles: based on the most up-to-date philological criteria, the edition will benefit from the rich amount of data about sources, texts, and concordances already stored in the Motet Cycles Database. The edition will comprise a critical apparatus and an analytical commentary, and will be interlinked with the Motet Cycles Database.
The resulting new research portal will, thus, include the database, the digital archive, the critical edition, and a set of short monographic essays. This innovative research tool, interlinked with other online resources will be open access and entirely searchable. It will interest not only musicologist, but students and scholars in various disciplines: codicologists, liturgists, scholars of Sforza studies, medievalists and scholars of the early modern era in general.
The present project, started at the Schola Cantorum Basiliensis (Basel, Switzerland) in September 2014, aims to catalogue and analyze this repertoire, exploring a broad range of issues, from the choice of texts and the compositional strategies to the performing contexts. In particular, we will try to understand whether the idea of “cycle” itself reflected peculiar liturgical circumstances or rested on different criteria.
The main focus of the project will fall on the motet cycles copied in manuscripts prepared in Milan under the direction of chapel master Franchinus Gaffurius (1451-1522). Known as “motetti missales”, these pieces (written by prominent composers such as Loyset Compère, Gaspar van Weerbeke and Gaffurius himself) were most likely associated with the liturgy of the Mass, and present a broad spectrum of intertextual phenomena, as suggested by the existing literature.
On the one hand, we will try to reconstruct in detail, for the first time, the liturgical and devotional contexts for the performance of these motets in Sforza Milan, and to study in depth the meaning and implications of textual and compositional choices.
On the other hand, the outcomes of the Milanese case study will predictably give us new and more refined tools for interpreting other cycles of different origin.
The results of the project will include, besides a comprehensive catalogue of the cycles, a mapping of the intertextual connections (in terms of texts, melodies, and contrapuntal structures), and abundant new data regarding the conception, performance, reception, and transmission of this fascinating repertoire.
University of Salzburg, Department of Musicology and Dance Studies
29 June – 1 July, 2017
In an English manuscript containing Corelli’s trio sonatas, an unknown trio sonata is included, which is probably to be added to the authentic works by the composer. In this paper I will discuss the possibility of an ascription and address the criteria by means of which such attribution matters should be judged. Are stylistic elements sufficient to prove authenticity, when they combine with clues regarding the transmission? This case study will provide a reflection on attribution criteria, pondering also the meaning and aim of such kind of endeavour in today’s musicological agenda.
The present project (led by Agnese Pavanello at the Schola Cantorum Basiliensis) aims to catalogue and analyze this repertoire, exploring a broad range of issues, from the choice of texts and the compositional strategies to the performing contexts, with special emphasis on the peculiar questions posed by the idea of “cycle” itself.
Online application:
https://apply.refline.ch/655298/4063/pub/1/index.html
Objectives of the conference are both to explore the life, works, and influence (in a European perspective) Torelli had on instrumental music in Bologna and in Emilia, as well as to shed light both on other specific figures of Bolognese musical live of the period, and on the circulation of Bolognese music and musicians. Although preference will be given to papers dealing with these major topics, the scientific committee also invites proposals concerning other aspects of Bolognese music of the period 1670–1710, including the relationship between musical patronage and production, reciprocal influences between instrumental and vocal music, instrument making, and aspects of performance practice.
In addition, these study days dedicated to Torelli are conceived as an effort to galvanize new scholarship on the composer and to shed light on two other aspects: first, on the pedagogical level (through workshops directed by specialized faculty) aiming to offer a specific education on Bolognese styles around 1700. And second, on issues of performance practice, providing students—through their participation in concerts in various venues—with high-profile performance opportunities both in solo and chamber contexts, and in orchestral situations, giving them the possibility to meet and interact with experts in early music.
"Gaspar van Weerbeke: Works and Contexts"
June 29 – July 1, 2017
University of Salzburg
Salzburg, Austria
Deadline for the submission of proposals: January 31, 2017
Following the recent completion of the editorial work for the publication of the final volumes of Gaspar van Weerbeke’s “Collected Works”, this conference aims to revitalize research on this long neglected Flemish composer. We are interested in papers which contextualize Gaspar and his work with that of his contemporaries at the Sforza court in Milan and in the Papal Chapel in Rome, including Josquin, Compère, and Gaffurius. Topics concerning Gaspar’s life, analysis of his music, or source studies would also be welcome. The conference will also hold a reconstruction workshop for the songs attributed to “Gaspart” surviving uniquely in FlorC 2442. Keynote addresses will be given by Klaus Pietschmann and Fabrice Fitch.
More information, including a catalog of works and sources, may be found on the website of the editorial project, www.gaspar-van-weerbeke.sbg.ac.at. Those interested are welcome to request personal access to some of the currently unpublished editorial materials. We especially want to encourage young scholars to engage in research on Gaspar and his music.
Please send titles and abstracts for consideration to paul.kolb -at- sbg.ac.at. Alternatively, let us know if you are interested in taking part in the reconstruction workshop or would like to be receive email updates about the conference. The conference language is English, and basic accommodation will be provided for all speakers.
We look forward to seeing you in Salzburg!
Andrea Lindmayr-Brandl
Agnese Pavanello
Paul Kolb
Und umgekehrt: Welche Wirkung hat die musikalische Interpretation
auf die Ausführung einer Choreografie? Wie stehen tänzerische
und melodische Phrasierung zueinander? Derlei Fragen
zum Verhältnis von Tanz und Musik ergeben sich sowohl bei der
praktischen Ausführung als auch bei der Erforschung historischer
‹Tanzmusik›. Entsprechend vielseitig sind die Zugänge, mit
denen dieser interdisziplinäre Band ‹Tanzmusik› vom Mittelalter
bis zur Romantik untersucht, kontextualisiert und im Sinne historischer
Musikpraxis erschließt. Im Mittelpunkt steht die Wechselbeziehung
zwischen Klang und Bewegung in verschiedenen
historischen Repertoires, Gattungen und Formen.