The Production and Reading of Music Sources
- Submitting institution
-
The University of Huddersfield
: A - Music
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies : A - Music
- Output identifier
- 60
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- Multi-component: Online Resource, Edited Book and Book Chapter
- Open access status
- -
- Month
- -
- Year
- 2018
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
-
1
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- The output consists of a 60,000-word study within a volume co-edited by the author and a web resource. All these taken together are the main ouputs of an AHRC project running from 2010 to 2014 with the author as PI; the study alone is sufficiently extended to warranty double weighting and is essentially underpinned by the online resource bringing together data on c. 300 musical sources in substantial part compiled by the author, and according to parameters principally designed by him. The essay collection is likewise evidence of the project design as substantially conceived by the author.
- Reserve for an output with double weighting
- No
- Additional information
- PRoMS (a major AHRC-funded project, designed and directed by Schmidt as PI) provides the first systematic exploration of how manuscripts and printed books between c. 1480 and 1530 were made. It is based on close examination of all c. 300 extant complete manuscripts of polyphonic music from the period. Taking into account function, genre, and performance, it explores physical characteristics such as material and size, but principally how ruling, music notation, verbal text and decoration interact on the written or printed page. The data is assembled and structured according to the most up-to-date principles of codicology, supervised by an interdisciplinary advisory board of international experts. The project draws for its conclusions on insights from art history and codicology to a degree unprecedented for the study of music sources. Between 1480 and 1530 polyphonic music spread across the whole of Europe and achieved its fullest variety in terms of source and repertoire types. Through the project, it was possible to tell the whole story about the making of sources in this period, with major implications for performance as well as historical study, where hitherto only broad surveys and studies of individual sources or small groups of sources had existed. Amongst others, the project identified clear correlations between book size and use, between layout types and genres or regions, and the way in which the notation itself becomes iconic. The output comprises a freely accessible online resource with c. 300 source entries (about half prepared by Schmidt), developed in conjunction with King’s Digital Lab, and a collection of studies by the project researchers and associated scholars, including a cornerstone 60,000-word essay by Schmidt. The online resource provides searchable information on physical aspects of the sources not typically included in catalogues, but crucial to the way music was laid out, read and sung.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
