L'Agenda des Médiévistes

Effervescences Médiévales, plateforme collaborative et interdisciplinaire sur le Moyen Âge pour les jeunes chercheurs et chercheurs confirmés, vous invite à participer à son premier appel à publication. Les articles seront publiés sur notre blog puis, à l’issue de la date butoir, compilés sous la forme d’une revue numérique en libre accès.

Pour son premier appel à publication, l’équipe d’Effervescences Médiévales vous invite à soumettre un article sur le thème suivant : Représenter la tête au Moyen Âge.

À travers ce thème, nous aborderons les représentations historiques, artistiques et littéraires de la tête au Moyen Âge. Vos articles pourront s’articuler autour des axes suivants :

• La beauté ou/et la laideur de la tête.
• Embellir la tête et le visage (artifices, cosmétique,…).
• Les attributs de la tête (couronne, tiare, diadème, coiffe, chapeau, bijoux, casque,…).
• La tête sainte (nimbe, voile,…).
• Discipliner les cheveux (coiffure, tonsure,…).
• Les têtes jumelles.
• L’imaginaire de la tête : têtes fabuleuses ou monstrueuses, mythes, légendes.
• Les rapports entre la tête et le corps, entre la tête et le cœur (conception médiévale).
• Martyriser la tête (décapitation,…).
• Soigner la tête.
• La tête, réceptacle de l’âme et de l’esprit.
• La tête du mort et son effigie en cire.

Dans une démarche interdisciplinaire, toutes les contributions de spécialistes travaillant sur le Moyen Âge sont attendues. Les articles seront publiés au fur et à mesure de leur soumission.

Votre contribution est à envoyer à l’adresse suivante effervescencesmedievales@gmail.com jusqu’au 30 septembre 2019 inclus, accompagnée d’une courte biographie.

Votre article, avec un minimum de 10.000 signes et limité à 20.000 signes (notes incluses), répondra aux normes rédactionnelles présentées sur notre site.

L’équipe d’Effervescences Médiévales

Source : Effervescences médiévales

International and Interdisciplinary Conference

German Historical Institute in Rome / Biblioteca Apostolica Vaticana, Vatican City

11–13 December 2019

Conception and Organisation: Klaus Pietschmann and Tobias Weißmann (Johannes Gutenberg University Mainz) / German Historical Intitute in Rome, Department of Music History

Expert committee: Sabine Ehrmann-Herfort, Markus Engelhardt, Teresa Gialdroni, Klaus Pietschmann and Tobias Weißmann

The compositional developments between the late Middle Ages and the early modern period were accompanied by a multifaceted change of requirements to musical performance practice, which correlated with the rite and mass piety and enduringly affected the experience of liturgy and music. The most distinctive impact of this progress is epitomised by the installation of singer balconies and organ galleries on which top-class music ensembles and organists often performed and which served as stages for musical excellence. The permanent display of music advanced to become a core segment of sacred architecture while the potential of these spaces to promote identification becomes evident in numerous graffiti, as the singer pulpit in the Vatican Cappella Sistina exemplifies. Luca della Robbia’s and Donatello’s cantorie for the Florentine cathedral or Jacopo Sansovino’s pergoli in the Venetian St Mark’s Basilica are prominent examples of the high artistic value, which already was ascribed to singer pulpits in the Renaissance period. Beginning in 15th century Italy, the polychoral musical performance practice became a European phenomenon in the 17th and 18th centuries and required the modification of venerable churches and the integration of music spaces in new sacred buildings. Moreover, the polychoral experimentation and opulent musical compositions for festive occasions made ephemeral music stages necessary in order to take full advantage of the acoustics and musical potential of the church interior. However, since Alexander VII’s Editto sopra le musiche (1665), popes increasingly opposed the architectural exposure of musicians who distracted the faithful from the liturgy with their visible and audible performance.

The planned conference focuses on the complex interrelation of music and sacred space which has so far only been investigated separately in a variety of disciplines and will concentrate on the musician’s pulpits of the early modern period. In what sense did the awarding authorities consider musical issues in designing and constructing new church buildings? Which role did architecture theorists assign to acoustics and musical performance practice? How did composers and performers react to the architectural and acoustic situation in sacred spaces? In short: How was the relationship between church music and church architecture?

The conference will be organised in cooperation between the German Historical Institute in Rome and the research project CANTORIA as part of a Gutenberg Research College Fellowship held by Klaus Pietschmann. It will serve as a prelude to subsequent workshops and conferences which will explore the interdependencies between architecture, acoustics, musical performance practice in the interdisciplinary discourse between musicology, art and architecture history.

Papers of 30 minutes each will be accepted in German, Italian and English. Interested speakers are invited to submit an abstract of their proposed paper (max. 500 words) and a short CV by 15 March 2019 to: klaus.pietschmann@uni-mainz.de / tobias.weissmann@uni-mainz.de

The conference will be held in German, Italian and English. The speakers will be selected by an expert committee. Contributions by junior researchers will receive special attention. Travel and accommodation expenses will be reimbursed subject to successful financing.

Source : H-Soz-Kult

Faculty of Music, University of Oxford

26-27 September 2019

Late medieval European court cultures have traditionally been studied from a mono-disciplinary and national(ist) perspective. This has obscured much of the interplay of cultural performances that informed “courtly life”. Recent work by medievalists has routinely challenged this, but disciplinary boundaries remain strong. The MALMECC project therefore has been exploring late medieval court cultures and the role of sounds and music in courtly life across Europe in a transdisciplinary, team-based approach that brings together art history, general history, literary history, and music history. Team members explore the potential of transdisciplinary work by focusing on discrete subprojects within the chronological boundaries 1280-1450 linked to each other through shared research axes, e.g., the social condition of ecclesiastic(s at) courts, the transgenerational and transdynastic networks generated by genetic lineage and marriage, the performativity of courtly artefacts and physical as well as social spaces, and the social, linguistic and geographic mobility of court(ier)s.

Since the inception of the project, the MALMECC team have conducted an international project workshop dedicated to methodological innovation in late medieval studies (2017), and a series of  international study days (2018-19), focussing on late medieval ecclesiastic courts, late medieval multilingualism and cultural exchanges across linguistic boundaries, and cardinals’ and papal households of Avignon as transcultural hubs. A fourth international study day probing the transnational qualities of courtly life in north-western Europe is scheduled for March 2019 in Liège (Belgium).
In the project conference, we hope to unite as many strands of court studies as possible and invite speakers from any discipline engaged with the long fourteenth century (c. 1280-1450) to join us in exploring phenomena of late medieval courtly life from a transdisciplinary angle. Submissions for papers may address (but need not be limited to) one or several of the following thematic strands:

– New and unusual methodological approaches to the study of European courts and court cultures

– Blurring anachronistic boundaries set by modern scholarship

– Consciously exploring the interstitial spaces of the sacred-secular, courtly-urban-rural, virtuous-obscene, courtly-uncourtly-pastoral

– Forging links between liturgy, sound/music and space/architecture

– Music and the senses at court

– Space and place, visibility and invisibility, hearing and overhearing, silence and noise in late medieval courtly life

– Gender, genealogies, sexualities, marriage and celibacy at secular and ecclesiastical courts

– Court careers, courtly roles and their performativity

– Court communications: speech and language, multilingualism, speaking and singing, crimes of speech and slander

– Patronage, performance and cultural productions at courts: art, literature, music and entertainment, courtly diversions and their audiences

– Memory, identity and lineage

– Courtly ecologies of sounds, bodies, materials, identities, power

– Economics of the court; the court and the city; the court and the countryside

– The geography and limits of the court: boundaries, definitions, territories, institutions

– Courtly alterity: courtly discourses on race, sexuality, (social) differences and disability

– European courts and court studies in a global context

Please send abstracts of 250-400 words to Martha Buckley, project support coordinator (martha.buckley@humanities.ox.ac.uk). Deadline: 5 May 2019.

Source : MALMECC