12 Apr “In Search of the Lost Voice. The Reconstruction of Incomplete Polyphonic Masterpieces ” (Spring School, Vicenza, 26-30 aprile 2021)
L’International Spring School “In Search of the Lost Voice. The Reconstruction of Incomplete Polyphonic Masterpieces ” (Vicenza, 26-30 aprile 2021) è organizzata dall’Università di Padova in collaborazione con il Conservatorio “A. Pedrollo” di Vicenza ed è dedicata al tema della ricostruzione delle parti mancanti nella polifonia incompleta. L’iniziativa si rivolge a tutti e prevede conferenze, lezioni, case-studies e laboratori in cui i partecipanti si cimenteranno nella ricostruzione di una parte mancante sotto la guida di un tutor. I laboratori sono riservati a studenti, dottorandi e giovani ricercatori italiani e stranieri selezionati sulla base del curriculum vitae. Eventuali interessati sono pregati di contattarmi (marina.toffetti@unipd.it).
L’iniziativa si terrà online.
La frequenza è gratuita e aperta a tutti (link: https://bit.ly/lost-zoom).
Per partecipare ai laboratori è necessario registrarsi (link: https://bit.ly/lost-registration).
I materiali saranno disponibili al seguente link: https://bit.ly/lost-materials.
Allego pieghevole e locandina e naturalmente resto a disposizione qualora si rendessero necessarie ulteriori informazioni.
Un saluto cordiale,
Marina Toffetti
In Search of the Lost Voice. The Reconstruction of Incomplete Polyphonic Masterpieces
International Spring School
Scientific direction: Marina Toffetti
(Vicenza, 26-30 aprile 2021)
In collaboration with: University of California, Davis (Jessie Ann Owens); Haverford College, PA (Richard Freedman); University of Huddersfield, School of Music, Humanities and Media (Livio Ticli and Marcello Mazzetti); Centre d’Etudes Supérieures de la Renaissance-Université de Tours (Philippe Canguilhem); Haute École de Musique, Genève (Niels Berentsen); Conservatorio di Musica ‘Arrigo Pedrollo’, Vicenza (Stefano Lorenzetti).
Many compositions from the sixteenth and seventeenth centuries survive in an incomplete state. It was standard practice to publish each part in a separate partbook, often the size of a slender pamphlet. Not surprisingly, some of them have disappeared, leaving a large repertory of compositions that are missing one or more voices. Usually these compositions are not performed in concert or recorded, and sometimes they are not even transcribed or studied. If we were able to visualize them, we could get to know better also the compositions that have come to us complete. During the Spring School we will address this problem by reconstructing the missing parts of several compositions, at least hypothetically, taking into consideration the theoretical, methodological, analytical, and philological aspects that such a proposal entails.
