HomeGoing beyond the limits: experiment with timbre in vocal and instrumental practice in modal music

HomeGoing beyond the limits: experiment with timbre in vocal and instrumental practice in modal music

Going beyond the limits: experiment with timbre in vocal and instrumental practice in modal music

Aller au-delà des limites : expérimenter le timbre dans les pratiques vocales et instrumentales des musiques modales

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Published on Wednesday, January 20, 2021 by Elsa Zotian

Summary

This title, inspired by a Christopher Page article, points out a key question about the reenactment of medieval music: how to put in sound the vast repertoire that we have inherited. This question links the instruments and their music, as they immediately imply issues related to performance and organological knowledge. From the vocal point of view, it is even more of a burning issue as it requires for imagination and representation. Can experiment, practice and trial go beyond the limits imposed on us by the few material traces available ?

Announcement

These study days are organized as part of the seminar of the Centre d’Etudes Médiévales de Montpellier (CEMM, EA 4583), the LabEx Archimède (ANR-11 LABX-0032-01), and the 4th edition of the nomad seminar of the Société Française d’Ethnomusicologie (SFE, 2020-2021) Multiple perspectives on timbre.

They will take place on April 15th & 16th 2021 at Université Paul-Valéry Montpellier 3, France.

Argument

This title, inspired by a Christopher Page article, points out a key question about the reenactment of medieval music: how to put in sound the vast repertoire that we have inherited. This question links the instruments and their music, as they immediately imply issues related to performance and organological knowledge. From the vocal point of view, it is even more of a burning issue as it requires for imagination and representation. Can experiment, practice and trial go beyond the limits imposed on us by the few material traces available ?

These experiments are necessary on modal music as a whole. Every ethnomusicologist is more or less confronted with such matters through vernacular terminology, fabrication and idea of the sound, as well as timbre strategies showcased in individual or collective performance by singers and musicians. The search for the sound forces performers to go through a learning process and involves different scales in social, cultural, and spiritual fields. This process becomes essential, especially through endogenous and exogenous experience of singularity. 

Dedicated to experimentation with voices and instruments in modal music, these two days aim at keeping the discussion going between medievalists and ethnomusicologists about the articulation of sources (musical, iconographical, literary - whether archeological, or recordings), instrumental and performance reconstitution, sound strategies and vocal gesture.

The purpose of these meetings is to embrace the artistic, ontological, interpretive, and even experimental scope. We encourage considering timbre from the organological and vocal point of view, challenged by the performance in order to grasp and overall understand the repertoires of modal music both from medievalist and ethnomusicological approaches.

These two days will assemble participants from various horizons in a transdisciplinary perspective: musicologists and ethnomusicologists, musicians and instrument makers, archeologists, art historians or even digital humanities specialists.

  1. Timbre, patrimonialization, and instrumental or vocal gesture

This first approach will enable us to delve into questions of terminology and typology related to timbre, sound analysis of the iconography, and different shapes of representations and imaginary that inspired voice and instrument in modal music.

  1. Patrimonialization and interpretation

This second angle will provide space for discussion, to medievalists and ethnomusicologists on shared questions of transmission, new insights and even transgression, toward innovation or musical experiment purposes. Performance and interpretation will be especially considered from the point of view of timbre and issues of sound, all facing the question of patrimonialization of repertoires, their enactment and the sound objects engaged.

 Submission guidelines

Proposal (10 to 15 lines) to be sent to:

  • Gisèle Clément : giseleclementdumas@gmail.com
  • Corinne Frayssinet Savy : savy@wanadoo.fr
  • Clément Frouin : frouin@gmail.com
  • Baptiste Chopin : baptiste_chopin@hotmail.com

before February 15, 2021

Scientific comity

  • Gisèle Clément, Musicologue, Maîtresse de conférences HC, CEMM / Université Montpellier 3 / CIMM 
  • Corinne  Frayssinet  Savy,  Ethnomusicologue,  chercheure  associée  IReMUS  et  RiRRa  21,  Université Montpellier 3 / SFE 
  • Olivier Féraud, Archéo-luthier, musicien, chercheur associé LabEx Archimède 
  • Baptiste Chopin, Doctorant CIHAM / Université Lyon 2 / CNSMD Lyon 
  • Clément Frouin, Doctorant CEMM / Université Montpellier 3 

Places

  • Université Paul-Valéy Montpellier 3, Site Saint-Charles, Rue du Professeur Henri Serre
    Montpellier, France (34)

Date(s)

  • Monday, February 15, 2021

Keywords

  • timbre, organologie, archéo-lutherie, instruments, voix, vocalité, musicologie, ethnomusicologie

Contact(s)

  • Gisèle Clément
    courriel : giseleclementdumas [at] gmail [dot] com
  • Corinne Frayssinet Savy
    courriel : corinne [dot] savy [at] wanadoo [dot] fr
  • Clément Frouin
    courriel : clem [dot] frouin [at] gmail [dot] com
  • Baptiste Chopin
    courriel : baptiste_chopin [at] hotmail [dot] com

Information source

  • Gisèle Clément
    courriel : giseleclementdumas [at] gmail [dot] com

To cite this announcement

« Going beyond the limits: experiment with timbre in vocal and instrumental practice in modal music », Call for papers, Calenda, Published on Wednesday, January 20, 2021, https://calenda.org/831987

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