30 Mar 2021


Am 30. März 2021 lädt das MWS zum Gastreferat von Laurie Stras ein, unter dem Titel: "Voci pari music for women in the sixteenth century - what do we know, and what have we left to learn?".

Dieser Vortrag findet aufgrund der aktuellen Situation online statt. Um die Zugangsdaten zu erhalten, schreiben Sie eine E-Mail an: veranstaltungen-mws@unibas.ch

Vielen Dank für Ihr Verständnis!


For several decades, musicians’ engagement, in scholarship and through performance adaptations, with early modern women’s ensembles has focussed on collective ornamentation and/or the selective instrumentation and transposition practices of seventeenth-century convents. For instance, these practices informed Musica Secreta’s investigations of the secular repertoire of the late-sixteenth-century female vocal ensemble, the Ferrarese concerto delle dame, in the early 2000s. But three years ago, I published a pair of related articles interrogating performance practice and repertoire for nuns in early sixteenth-century Italian convents, as I began to put together more documents and music that confirmed polyphony was indeed part of wider convent musical culture long before the first nun put her name to a musical publication - Raffaella Aleotti in 1593. This work established a repertoire of voci pari music, some of which was specifically composed for women’s ensemble, together with some indication that nuns knew how to recreate the sound extemporised polyphony. This paper surveys what we as performers have learned in our turn to this earlier repertoire, and what we are hoping to discover in a fuller investigation of the office music contained in B-Bc 27766, a large choirbook from a sixteenth-century Florentine convent.

Laurie Stras is Research Professor of Music at the University of Huddersfield and Professor Emerita of Music at the University of Southampton. She is co-director, with the soprano Deborah Roberts, of the ensemble Musica Secreta. She has published widely on sixteenth-century music, music and disability, and women in popular music. Her monograph, Women and Music in Sixteenth-Century Ferrara (Cambridge, 2018), received the 2019 Otto Kinkeldey Prize from the American Musicological Society.

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