The Renaissance chanson goes digital: Digitalduchemin.org

Early Music

Volumn 42, Issue 4, 2014, Pages 567-578

  Freedman, Richard ^a  

^a HAVERFORD COLLEGE   (United States)

Author keywords

analysis; chanson; digital edition; Nicolas Du Chemin; reconstruction; Renaissance

Indexed keywords

EID: 84913539930     PISSN: 03061078     EISSN: None     Source Type: Journal    
DOI: 10.1093/em/cau108     Document Type: Article

References (31)

1. Concerning the history of the Du Chemin firm and for bibliographical descriptions of the extant copies of the Chansons Nouvelles series, see F. Lesure and G. Thibault, 'Bibliographie des éditions musicales publié es par Nicolas du Chemin' , Annales musicologiques, i (1953), pp.269-373; iv (1956), pp.251-53; and vi (1958-63), pp.403-506;
2. A. Boucaut-Graille, 'L'imprimeur et son conseiller musical: les straté gies éditoriales de Nicolas du Chemin (1549-1555)', Revue de musicologie, xcxi (2005), pp.5-25.
3. Our work involves the labour of many hands from the CESR in Tours, at Haverford College in the U SA, and the contributions of students and digital humanities specialists from across North America and Europe. The facsimiles, commentary and modern editions are part of the CESR Programme Ricercar (edited by Freedman and Philippe Vendrix, at http:// r icercar.cesr.univ-tours.fr/3-programmes/EMN/Duchemin
4. This archive also features search functions, with links to a much larger database of the Renaissance chanson (edited by Annie Coeurdevey, at http://ricercar. cesr.univ-tours.fr/3-programmes/basechans on/03231-0.htm).
5. The Lost Voices Project and accompanying Editor's forum are hosted by Haverford College (edited by Freedman), at http://digitalduchemin. org
6. http://duchemin.haverford. edu/editorsforum.
7. For bibliographical descriptions of these treatises, see Lesure and Thibault, ' Bibliographie des éditions musicales'. The works have recently been issued in modern facsimile: Méthodes et traités: Renaissance Franç aise, 4 vols., ed. O. Trachier (Paris, 2005).
8. Menehou's seven known chansons are all incomplete. For the surviving parts (and some proposed reconstructions), see the Lost Voices Project site http://digitalduc hemin.org/search/?q=&p=Menehou%2C+Miche l+de.
9. See Pietro Cerone, El melopeo y maestro (Naples, 1613), available in reprint edition as El melopeo y maestro, 2 vols., ed. A. E. Esteban, Monumentos de la música española 74 (Barcelona, 2007), and in complete digital facsimile via the World Digital Library (www.wdl.org/en/item/10633/).
10. See P. Schubert, 'Hidden forms in Palestrina's first book of four-voice motets ', Journal of the American Musicological Society, lx (2007), pp.483-556
11. Musical commonplaces in the Renaissance', in Music education in the Middle Ages and the Renaissance, ed. R. Murray, S. Forscher Weiss and C. Cyrus (Bloomington and Indi a napolis, 2010), pp.161-92;
12. and (with Marcelle Lessoil-Daelman), 'What modular analysis can tell us about musical modeling in the Renaissance', Music Theory Online, xix (2013), www.mtosmt.org/issues/mto.13.19.1/mto.13.19.1.schubert-lessoilda elman. php
13. Further on the interplay of convention and composition, see B. J. Blackburn, ' The dispute about harmony c.1500 and the creation of a new style' , in Thé orie et analyse musicales 1450-1650/Music Theory and Analysis: Proceedings of the International Conference Louvain-la-Neuve, 23-25 September 1999, ed. A. Ceulemans and B. Blackburn (Louvain-la-Neuve, 2001), pp. 1-38
14. P. Canguilhem , ' Singing upon the book according to Vicente Lusitano' , Early Music History, xxx (2011), pp.55-103
15. J. Cumming, ' Composing imitative counterpoint around a cantus firmus: two motets by Heinrich Isaac' , Journal of Musicology, xxviii (2011), pp.231-88
16. R. Crocker, 'Discant, counterpoint and harmony ', Journal of the American Musicological Society, xv (1962), pp.1-21
17. J. Milsom, 'Crecquillon, Clemens, and four-voice fuga ' , in Beyond contemporary fame: reassessing the art of Clemens non Papa and Thomas Crecquillon, ed. E. Jas (Turnhout, 2005), pp.293-345
18. B. Rivera, 'The two-voice framework and its harmonizati on in Arcadelt's first book of madrigals' , Music Analysis, vi (1987), pp.59-88
19. M. Roig-Francoli, ' Playing in consonances: a Spanish Renaissance technique of chordal improvisation' , Early Music, xxiii (1995), pp.461-71.
20. The types, and the rules for marking them in scores and database, are described at length in the Thesaurus and accompanying Dossier, giving the controlled vocabulary and our methods of analysis and recon struction. Both documents available for download as pdf files via the Lost Voice Project Editor's Forum, along with materials suitable for workshops and classes: http://duchemin.haverford.edu/editorsforum/.
21. Incidentally, the search can be saved simply by copying the URL returned along with the results. To search for all cadences of the type just explained, for instance: http://duchemin-dev.haverford.edu/search/?q=&f=D&cadence-role-can tz=S&cadence-role-tenz=Ct
22. See, for example, two proposed reconstructions of contratenor and bassus parts by Jamie Apgar and Pierre Derycz of Etienne Du Tertre's ' Puis que je me voy pres' from Du Chemin's Seiziesme livre contenant vingt chansons nouvelles (1568). http://digitalduchemin.org/piece/DC1605.
23. http://digitalduchemin.org/piece/DC1417.
24. Sixteenth-century principles of text underlay are explained at length in Freedman Practical and theoretical aspects of the Du Chemin chansonniers commentary available as downloadable pdf via the CESR Du Chemin Image Archive at http://ricercar.cesr.univ-tours.fr/3-programmes/EMN/duchemin/pages/Practical%20and%20Theoretical.pdf
25. All of the code for our project is available for reuse via the code-sharing site GitHub, at https://github.com/DuChemin.
26. See at www.music-encoding.org/ns/mei.
27. Ve xFlow is a javascript library for rendering music notation by Richard Lewis of Goldsmith's, University of London. See more at www.vexflow. com.
28. See https://github.com/zolaemil/meiView.
29. Citations: The Renaiss ance imitation Mass [CRIM], directed by Richard Freedman and David Fiala (CESR), will run from 2014 until 2017, with support from the Mellon Foundation and the Maison fondation des sciences de l'homme (via their Programme transatlantique de collaboration en humanités numériques), the CESR and Haverford College. For more on the Open Annotation Collaboration, see www. openannotation.org.
30. On the cultural uses of printed music books of the period, see R. Wistreich, ' Music books and sociability' , Il saggiatore musicale, xviii (2011), pp.230-44.
31. Transforming Musicology, a multiyear project under the direction of our colleague Tim Crawford, imagines just such collaborative enquiry and reflection. See www.transformingmusicology. org.