BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news91@musikwissenschaft.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20210325T115416 DTSTART;TZID=Europe/Zurich:20210330T181500 SUMMARY:MWS-Vortrag DESCRIPTION:Dieser Vortrag findet aufgrund der aktuellen Situation online s tatt. Um die Zugangsdaten zu erhalten\, schreiben Sie eine E-Mail an: vera nstaltungen-mws@unibas.ch\\r\\nVielen Dank für Ihr Verständnis!\\r\\n--- -------------------------------------------------------------------------- -----------------------------------\\r\\nFor 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 seven teenth-century convents. For instance\, these practices informed Musica Se creta’s investigations of the secular repertoire of the late-sixteenth-c entury 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 sixtee nth-century Italian convents\, as I began to put together more documents a nd 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 pa ri 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 lear ned in our turn to this earlier repertoire\, and what we are hoping to dis cover in a fuller investigation of the office music contained in B-Bc 2776 6\, a large choirbook from a sixteenth-century Florentine convent.\\r\\nLa urie Stras is Research Professor of Music at the University of Huddersfiel d and Professor Emerita of Music at the University of Southampton. She is co-director\, with the soprano Deborah Roberts\, of the ensemble Musica Se creta. She has published widely on sixteenth-century music\, music and dis ability\, and women in popular music. Her monograph\, Women and Music in Sixteenth-Century Ferrara (Cambridge\, 2018)\, received the 2019 Otto Kin keldey Prize from the American Musicological Society. X-ALT-DESC:

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

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Vielen Dank für Ihr Verständnis!

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For several decades\, musicians’ engagement\, in scholarship and through performance adaptatio ns\, with early modern women’s ensembles has focussed on collective orna mentation 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-si xteenth-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 ear ly sixteenth-century Italian convents\, as I began to put together more do cuments and music that confirmed polyphony was indeed part of wider conven t musical culture long before the first nun put her name to a musical publ ication - Raffaella Aleotti in 1593. This work established a repertoire of  \;voci pari \;music\, some of which was specifically com posed for women’s ensemble\, together with some indication that nuns kne w how to recreate the sound extemporised polyphony. This paper surveys wha t we as performers have learned in our turn to this earlier repertoire\, a nd 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.

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Laurie Stras is Research Professor of Music a t the University of Huddersfield and Professor Emerita of Music at the Uni versity of Southampton. She is co-director\, with the soprano Deborah Robe rts\, of the ensemble Musica Secreta. She has published widely on sixteent h-century music\, music and disability\, and women in popular music. Her m onograph\, \;Women and Music in Sixteenth-Century Ferrara \;(Cambridge\, 2018)\, received the 2019 Otto Kinkeldey Prize from the Am erican Musicological Society.

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