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From: Katelijne Schiltz <[log in to unmask]>
Invitation a une conférence de Bonnie Blackburn
Le mercredi 13 fevrier 2002, l'unite de musicologie de la Katholieke
Universiteit Leuven (Louvain, Belgique) accueillera Bonnie Blackburn
(Oxford, Wolfson College) pour une conference intitulee Canonic Conundrums
and Significant Signs: Petrucci, his Editor, and the Singers. La
conference debutera a 19 heures, Monseigneur Sencie Instituut,
Erasmusplein 2 (entre la Faculte de Lettres et la Bibliotheque centrale).
When Petrucci began printing polyphonic music in 1501, he was convinced
that there was a market for easily portable and relatively inexpensive
books of music. But what purchasers did he have in mind? A study of the
compositions containing canons has revealed that his buyers must have been
non-professional singers, because the music has been edited to fit their
needs. Whereas professionals normally had no need of resolutions, Petrucci
(or his editor, Petrus Castellanus) realized that amateurs would require
more help. This notion did not occur to him immediately: the first three
anthologies, containing several enigmatic canons, have no resolutions;
singers were expected to be able to cope with inversion, retrograde,
transposition, diminution, augmentation, ostinato, and mensuration canons.
Only beginning with the first volume of Josquin's masses in 1502 did
Petrucci regularly give resolutions of many canons, while still including
the original form. After 1505 he frequently gave only a resolution, not
always labelled as such, and not always correctly resolved. In many cases
we can recover the original enigmatic inscription or notation from
manuscript sources, but some appear to be lost altogether.
If printing polyphonic music in 1501 was a new enterprise, so was editing
music. In addition to resolving canons, Petrus Castellanus altered
mensuration signs in a way that shows that he agreed with Gaffurius and
Tinctoris on the nature of the mensural system. I have discovered that his
change of one particular sign, for sesquialtera, has significant
implications for attributions of anonymous works and the filiation of
sources.
In both these aspects, the work of Petrucci's editor has important lessons
for today's editors of early music, who pay too little attention to the
original notation.
Il n'est pas necessaire de s'inscrire. Pour tout renseignement, veuillez
vous adresser a
Dr. Katelijne Schiltz
Katholieke Universiteit Leuven
Faculteit Letteren
Departement Musicologie
Blijde Inkomststraat 21
B-3000 Leuven
0032-(0)16-32.48.87 (tel.)
0032-(0)16-32.48.72 (fax)
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