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Les paroliers sans musique notée contiennent des textes versifiés de forme variée, dont l’examen fait ressortir des traits peu connus de la circulation musicale autour de 1500, en particulier la forte présence de chansons s’apparentant au rondeau, à la ballade ou au virelai. Ces chansons monodiques, dans lesquels texte et langage musical entretiennent une liaison organique, informent largement les pratiques sociales de la musique et constituent un pivot esthétique central entre 1480 et 1528.

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International audience; Les pièces musicales inédites données dans le cadre du colloque "Chanter l'actualité de François Ier à Henri IV" sont éditées et commentées dans cette contribution.

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Pourquoi Ronsard fait-il mettre en musique ses poèmes des Amours en 1552 ? C’est à cette question que répond l’ouvrage qui se compose d’un essai liminaire et d’une anthologie de 22 chansons enregistrées (dont le « Supplément musical » de 1552) présentées avec un commentaire et une partition., Why did Ronsard have his poems from the Amours set to music in 1552? This work addresses this question and contains an introductory essay and an anthology of twenty-two recorded songs (including the “Musical supplement” of 1552), presented with a commentary and sheet music.

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Description, transcription, analysis and commentary of three pamphlets written by Loys Bourgeois (composer) in response to lost pamphlets by Simon Gorlier (a music printer) in Lyons, 1554. They deal with music theory, especially on scales, gamut and solmization, and include some very colourful pieces with insults, mocking and so., Description, transcription, analyse et commentaire de trois pamphlets écrits par le compositeur Loys Bourgeois en réponse à des pamphlets perdus de Simon Gorlier, imprimeur de musique, à Lyon en 1554. Ils traitent de théorie musicale ur les gammes et la solmisation, notamment, et montrent des passages très imagés avec des insultes, des moqueries, etc.

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International audience; Notes de programme et édition des textes et partitions des concerts accompagnant le colloque du Centre Saunier, Mars 2015.

This book focuses on the song on stamp of the beginnings of the modern period. Massively appearing in the earliest times of the history of the printed book in Europe, and before the musical printing, these songs circulated widely in collections of lyricists. They were sung on tunes, stamps, which were simply mentioned. These stamps were used in fields as varied as Christmas, comic theater, Protestant spiritual song, or political and topical song, but also songbooks for pure entertainment.The inventory of these tunes (catalog, part II) allows in many cases to reconstruct them, for example from the polyphonic scores, of which yet they are clearly distinguishable: there is a separate circulation of these songs of oral transmission, which the keeps away from scholarly music. So that when the Parisian songs of Janequin or Sermisy use them, they often only accommodate an air that was already circulating, not create it from scratch. In addition to this main result, which modifies our understanding of the Parisian song, we find a survival of sung forms of the virelai very early in the sixteenth century, whereas this type of pieces disappeared from the poetic practices from the generation of Clément Marot. Finally, some of these songs, including songs on a leash, are still attested in the traditional French-language song, as it is collected in France and across the Atlantic at the end of the 20th century: the hypotheses and observations of French-speaking folklorists, mainly Patrice Coirault and Conrad Laforte, are confirmed and amplified. These beginnings of the history of the popular book, under its sung angle, reveal the impregnation of sound that surrounds the poetic creation of a whole generation of poets, but also the diffusion of metrical and lyrical skills through musical memory, to a very wide audience., Cet ouvrage s'intéresse à la chanson sur timbre des débuts de la période moderne. Apparues massivement aux premiers temps de l'histoire du livre imprimé en Europe, et avant l'imprimerie musicale, ces chansons circulaient largement dans des recueils paroliers. On les chantait sur des airs, les timbres, qui étaient simplement mentionnés. Ces timbres servaient dans des domaines aussi variés que les noëls, le théâtre comique, la chanson spirituelle protestante, ou la chanson politique et d'actualité, mais aussi des recueils chansonniers destinés au divertissement pur et simple. L'inventaire de ces airs (catalogue, partie II) permet dans de nombreux cas de les reconstituer, par exemple à partir des partitions polyphoniques, dont pourtant ils se distinguent nettement : il existe une circulation distincte de ces chansons de transmission orale, qui les maintient à l'écart de la musique savante. En sorte que lorsque les chansons parisiennes de Janequin ou Sermisy les utilisent, elles ne font souvent qu'accommoder un air qui circulait déjà, et non le créer de toutes pièces. Outre ce résultat principal, qui modifie notre compréhension de la chanson parisienne, on constate une survivance de formes chantées du virelai très avant dans le XVIe siècle, alors que ce type de pièces a disparu des pratiques poétiques dès la génération de Clément Marot. Enfin certaines de ces chansons, notamment des chansons en laisse, sont encore attestées dans la chanson traditionnelle francophone, telle qu'elle est collectée en France et outre-Atlantique à la fin du XXe siècle : les hypothèses et observations des folkloristes du domaine francophone, principalement Patrice Coirault et Conrad Laforte, s'en trouvent confirmées et amplifiées. Ces débuts de l'histoire du livre populaire, sous son angle chanté, révèlent donc l'imprégnation sonore qui entoure la création poétique de toute une génération de poètes, mais aussi la diffusion de compétences métriques et lyriques par le biais de la mémoire musicale, auprès d'un public très élargi.

French Renaissance psalm tunes reveal specific melodic features, just as polyphonic music does. Using analytic and musicologic methods (after N. Meeùs MonikaⓊ, ur-Monika,, macro VBA, see Meeùs' web pages), this contribution highlights the theoretical expression of modality in these single line tunes, in the main Genevan psalm books published between 1539 and 1562. Focusing on Loys Bourgeois' discreet emendations of 1551, we now can trace the covered updating of old tunes into "modern" ones, more tonal. For this paper, french psalm tunes of the Renaissance have been made available through carnetdenotes.paris-sorbonne.fr, and the Psautiers corpus on Neuma (neuma.huma-num.fr). Source, Les mélodies des psaumes de la Renaissance, en particulier les psaumes du psautier de Genève peuvent révéler une organisation d'ensemble gouvernée par le langage musical, si on leur applique un regard analytique et quantitatif. L'article s'appuie sur les travaux de Nicolas Meeùs, et en particulier sur sa macro Monika©, et montre comment, à l'aide d'un logiciel programmé par nous pour l'occasion, on retrace des évolutions esthétiques importantes entre les versions qui ont évolué entre 1539 et 1562. La plate-forme d'analyse inspirée par Monika© est accessible sur le site institutionnel de la Sorbonne (carnetdenotes.paris-sorbonne.fr), avec le corpus des mélodies de psaumes étudiés.

International audience; Histoire du concert médiéval en France à travers les annonces de la presse généraliste : réception, médiévalisme et musicologie.

This book focuses on the song on stamp of the beginnings of the modern period. Massively appearing in the earliest times of the history of the printed book in Europe, and before the musical printing, these songs circulated widely in collections of lyricists. They were sung on tunes, stamps, which were simply mentioned. These stamps were used in fields as varied as Christmas, comic theater, Protestant spiritual song, or political and topical song, but also songbooks for pure entertainment.The inventory of these tunes (catalog, part II) allows in many cases to reconstruct them, for example from the polyphonic scores, of which yet they are clearly distinguishable: there is a separate circulation of these songs of oral transmission, which the keeps away from scholarly music. So that when the Parisian songs of Janequin or Sermisy use them, they often only accommodate an air that was already circulating, not create it from scratch. In addition to this main result, which modifies our understanding of the Parisian song, we find a survival of sung forms of the virelai very early in the sixteenth century, whereas this type of pieces disappeared from the poetic practices from the generation of Clément Marot. Finally, some of these songs, including songs on a leash, are still attested in the traditional French-language song, as it is collected in France and across the Atlantic at the end of the 20th century: the hypotheses and observations of French-speaking folklorists, mainly Patrice Coirault and Conrad Laforte, are confirmed and amplified. These beginnings of the history of the popular book, under its sung angle, reveal the impregnation of sound that surrounds the poetic creation of a whole generation of poets, but also the diffusion of metrical and lyrical skills through musical memory, to a very wide audience.; Cet ouvrage s'intéresse à la chanson sur timbre des débuts de la période moderne. Apparues massivement aux premiers temps de l'histoire du livre imprimé en Europe, et avant l'imprimerie musicale, ces chansons circulaient largement dans des recueils paroliers. On les chantait sur des airs, les timbres, qui étaient simplement mentionnés. Ces timbres servaient dans des domaines aussi variés que les noëls, le théâtre comique, la chanson spirituelle protestante, ou la chanson politique et d'actualité, mais aussi des recueils chansonniers destinés au divertissement pur et simple. L'inventaire de ces airs (catalogue, partie II) permet dans de nombreux cas de les reconstituer, par exemple à partir des partitions polyphoniques, dont pourtant ils se distinguent nettement : il existe une circulation distincte de ces chansons de transmission orale, qui les maintient à l'écart de la musique savante. En sorte que lorsque les chansons parisiennes de Janequin ou Sermisy les utilisent, elles ne font souvent qu'accommoder un air qui circulait déjà, et non le créer de toutes pièces. Outre ce résultat principal, qui modifie notre compréhension de la chanson parisienne, on constate une survivance de formes chantées du virelai très avant dans le XVIe siècle, alors que ce type de pièces a disparu des pratiques poétiques dès la génération de Clément Marot. Enfin certaines de ces chansons, notamment des chansons en laisse, sont encore attestées dans la chanson traditionnelle francophone, telle qu'elle est collectée en France et outre-Atlantique à la fin du XXe siècle : les hypothèses et observations des folkloristes du domaine francophone, principalement Patrice Coirault et Conrad Laforte, s'en trouvent confirmées et amplifiées. Ces débuts de l'histoire du livre populaire, sous son angle chanté, révèlent donc l'imprégnation sonore qui entoure la création poétique de toute une génération de poètes, mais aussi la diffusion de compétences métriques et lyriques par le biais de la mémoire musicale, auprès d'un public très élargi.

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International audience; Le psautier de Pierre Davantès (1555) est pourvu d'une préface musicale qui révèle une pensée théorique originale. Bien avant les notations musicales chiffrées de Jean-Jacques Souhaitty (1632 - vers 1697) puis de Jean-Jacques Rousseau, Pierre Davantès promeut une écriture musicale simplifiée, pourvue de chiffres arabes et d'un système de points, pensé pour exprimer certains aspects de la notation musicale de son époque, notamment des éléments de pensée modale et de solmisation, jugés alors très encombrants. Dans le corps de son ouvrage, les mélodies sont entièrement décryptées en solmisation, et l'on peut par comparaison avec les rares autres sources solmisées y constater des tendances spécifiques, des choix, alors même que le système est réputé relativement universel. La contribution se centre donc sur les aspects techniques de cette entreprise philanthrope et prosélyte.

International audience; L'étude des pièces de Josquin des Prés copiées à la fin du siècle dans le manuscrit Bourdeney (Paris, Bibliothèque nationale de France, Département de la Musique, Rés Vma. Ms. 851) révèle toute la difficulté de comprendre le système de notation mensuraliste du début du siècle, à seulement quelques décennies de distance. La mise en partition complète (conducteur) qui est tentée par le copiste anonyme se trouve freinée par les particularités de la notation de cette musique, les canons musicaux de Josquin, et les usages de l'imprimerie vénitienne (Petrucci) pour répondre au défi que son impression posait au tout début du xvie siècle. Près de 80 ans après, du vivant de Palestrina, et alors qu'on assiste à la naissance de la partition moderne (ici par le procédé des caselle), l'essence de la technique musicale de l'école dite franco-flamande se transmet moins bien qu'on ne l'imagine.

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International audience; Les principes de composition des œuvres musicales de la Renaissance déposent parfois dans l'espace de la page des traces de leur action : la mise en partition (quasi-conducteur) des messes de Palestrina dans le manuscrit Bourdeney, contemporain du compositeur, donne un relief particulier à l'usage du procédé du icantus firmus, un procédé musical singulier dans ces deux messes. Le manuscrit Bourdeney est un des rares premiers témoins de partitions polyphoniques modernes à parties superposées, et préfigure la partition polyphonique moderne.

International audience; Conférence des Journées d'Informatique Musicale, MINT-OMF, 27 juin 2013

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International audience; Sur un poème néolatin en deux parties, cette chanson de Jean Richafort ( v. 1480- v.1547), souvent traitée en motet, apporte sous les traits de l'hirondelle un contrepoint religieux, de sensibilité probablement franciscaine, à la production d'un musicien des Pays-Bas bourguignons. L'extraordinaire engouement pour cette chanson singulière, isolée, mais sur laquelle pas moins de quatre compositeurs de premier plan construisent ensuite des messes -parodie (Missae ad imitationem) nécessite une exploration soigneuse. Nicolas Gombert, Philippe Verdelot, Johannes Lupi, Claudin de Sermisy lui assurent une postérité musicale remarquable, et Claude Le Jeune utilise encore ce texte composite, d'origine médiévale, à la toute fin du /XVIe siècle.

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This paper presents and adapts the Cognitive Dimensions of Notations framework (Green and Petre, 1996) for use in designing and analysing notations (and user interfaces) in both digital and traditional music practice and study. Originally developed to research the psychology of programming languages, the framework has since found wider use in both general HCI and music. The paper provides an overview of the framework, its application, and a detailed account of the core cognitive dimensions, each discussed in the context of three music scenarios: the score, Max/MSP, and sequencer/DAW software. Qualitative and quantitative methodologies for applying the framework are presented in closing, highlighting directions for further development of the framework.

Since the turn of the century, and in particular the last 5 years, the discourse surrounding dynamic scoring techniques and practices has increased dramatically, while leading to an increasingly disparate terminological melee. With an awareness of what implications exist in the premature analysis and theorization of an emerging field of practice, the author argues that in order to further develop a taxonomy of dynamic scoring techniques and practices, it may be useful to take a reductionist approach toward defining the various low-level elements of dynamic scoring, in the case of this paper those elements that features prominently in Animated Music Notation [AMN]. By suggesting a set of low-level elements, and isolating the actualized indicators of contact and intersection as the primary functional components of AMN, the author will propose a working definition of AMN supported by examples drawn from the author's work and others. This definition is not intended to satisfy the broad range of dynamic scoring techniques that implement AMN, but to highlight prevalent methodologies, and to point toward the extension of existing taxonomies, specifically regard-ing their respective global functionalities.

Two quantization models for 'expressive' rendering of complex rhythmic patterns are discussed. A multi-nesting quantizer captures expressivity by allowing fine-grained/high-quality resolution, thus covering the automatic transcription of a wide range of rhythmic configurations, yielding from simple to rather complex music notations. A look-up table quantizer is discussed as another model to attain expressivity and musical consistency; input is quantized by comparison of 'rhythmic similarity' from a user-defined data-set or look-up 'dictionary'. Both quantizers are presented as computing assisting tools to facilitate the transcription of rhythmic structures into the symbolic domain (i.e. music notation).

The "sound diffusion" (or "sound projection"), that is, "the projection and the spreading of sound in an acoustic space for a group of listeners"[1], of works for solo electronics or for acoustic instruments and electronics (so called, "mixed pieces"), has always raised the issue of notating the levels to be reproduced during a concert or the correct balance between the electronics and the instruments. If, in the last decades, some attempts were made by few composers or computer-music designers, mostly in the form of scores, none of these managed to establish a common practice. In addition, little theoretical work has been done so far to address the performative aspects of a piece, that is, to provide just the useful information to the person in charge of the sound diffusion. Through the discussion of three historical examples and the analysis of two experiences we developed, we will try to identify some possibly general solutions that could be adopted independently on the aesthetic or tech-nological choices of a given piece.

denm (dynamic environmental notation for music) is an automatic notation renderer written for tablet computers in the Swift language and the Cocoa Touch Frameworks. denm is a performance-centric notation environment with many tools built into an interactive graphical representation of music. These tools, for both individual- and group-rehearsal contexts, invite multi-dimensional learning strategies to performing the complex musics written today. There are many excellent tools currently available that automatically generate musical scores, but the focus of these tools is often towards the compositional and/or theoretical end of the musical process. denm focuses its efforts on the performance end of the process, allowing performers to interact directly with the musical notation. This paper describes the impetus for the denm project, the current state of its development, and areas of continued implementation and exploration.

In this paper we describe our approach to help blind people to access musical information. Guidelines of our approach are centered on information accessibility according to user disability. We present the process which permits to code and transform musical information to be read, treat and analyze by a Blind musician. We focus our proposition on the various level of description of the score done by several code and we exploit and describe existing results like BMML (Braille Music Markup Lan-guage) defined during Contrapunctus European project. We describe and comment different scenarios using existing free transformation modules and software to obtain a score in BMML in order to be read and manipulate by a Blind people with BMR (Braille Music Reader) and the recommendation and tutorials propositions done during the Musi4vip European project.

International audience; Integrated authoring and performing of mixed music scores, where musicians interact dynamically with computer controlled electronics, is enabled by the Antescofo state-of-the-art software package. Composers are able to plan computerised actions through a dedicated programming language, and performances are then synchronised in real time. AscoGraph is the dedicated graphical interface that allows users to configure Antescofo behaviours and vi-sualise their layout over a mixed music score. This paper presents developments in the direction of increased clarity and coherence of AscoGraph's visualisation of com-puterised action scores. Algorithms for efficient automatic stacking of time-overlapping action blocks are presented, as well as a simplified model for displaying atomic actions. The paper presents the improvements in score readability achieved, as well as the challenges faced towards a complete representation of dynamic mixed scores in the Asco-Graph visual environment.

This paper outlines the background to a research project currently underway in Malaysia that, through spectography seeks to find models that might assist in the future development of a timbral notation. Located within the music creation and performance practices of the researchers, the project has elements of interculturality which both enrich and inform the research. The authors consider the nature of a music score, the explicit and implicit information it carries, and how this impacts on the models being developed. The understandings elicited to date are not only located in music practice, but are underpinned and supported by the theoretical works of a number of recent philosophers and theorists. The overall research project is broken down into smaller discrete sub-projects which are discussed, and the findings of each sub-project are then contextualized in the wider project. These findings include a discussion of the score as artifact and the potential contained within it. The finding in two sub-projects of a possible model of gestural notation, albeit with different purposes, suggests this as a further avenue of research. The paper concludes with some suggestions of future research areas that will follow on from the models of timbral notation being explored in this project.

Ethnomusicologists often face problem in precisely de-scribing characteristic of a sound recorded in the field-work. Written explanation normally will use the meta-phoric words to represent the timbral characteristic of a sound produced by ethnic musical instruments. But to what extend the reader will understand and perceive the sound based on the writer explanation? This study will explore all the possibilities of using timbral visualization in recognizing the Malaysian traditional musical instru-ments. We introduce an instrument recognition process in solo recordings of a set of Malay traditional instruments (gedombak), which yields a high recognition rate. A large sound profile is used in order to encompass the different sound characteristic of each instrument and evaluate the generalization abilities of the recognition process.

The research presented here is product of a practice-based process that primarily generates knowledge through col-laboration and exchange in performance situations. It is this collaboration and exchange with various musicians over a period of five years that constitutes a body of practice that is here reflected upon. The paper focuses on non-instructional graphic scores and presents some insights based on performances of works by the author. We address how composition processes are revealed in graphic scores by looking at the conditions of decision making at the point of preparing a performance. We argue that three key elements are at play in the interpretation of these types of graphic scores: performance practice, mapping and musical form. By reflecting particularly on the work Cipher Series (Rebelo, 2010) we offer insights into the strategies for approaching the performance of graphic scores that go beyond symbolic codification.

This paper introduces Thema, a custom music notation software environment designed to automatically and transparently capture quantitative data into a relational database. The majority of research into musical creativity is qualitative in nature, and this software addresses several areas, such as search and improvisational data, which are not well-addressed in the qualitative toolkit. Thema's database provides advantages over ad hoc file collection mechanisms by providing integrated search; the software also is able to consistently identify musical material via automatically assigned identification codes, and this provides a useful supplement to content-based search. In 2013, a study was conducted of ten graduate-level composers using Thema, and the dataset from this study was used to develop new analytical tools for examining compositional data.

International audience; The paper explores the hybridization of notation and instrument as a cognitive movement from representation to enaction. Features of such hybridization are latent in every notation, as a mix of descriptive and prescriptive functions. Current advances in the fields of computer music representation (interactive scores) and New Interfaces for Musical Expression, with precedents in graphic and action- oriented scores, are turning notation into a shared multimodal platform between composer and performer, liquidizing the limit between notation and instrument. We will present this dynamic rapport between scores and interfaces (haptic interactions, INScore, GesTCom, post-Klaus K. Hübler tablature notations of decoupled action-structures) in the light of theoretical models (enaction defined as navigation of affordances from the field of embodied and extended cognition, Leman’s action-reaction cycle extended from instrument-making into notation, Veitl’s conception of software as tablature, Atau Tanaka’s definition of instruments as open-ended systems etc.). We are following an explicit line from new interfaces involving notation back to graphic and action-oriented scores, considering them in the theoretical framework of enaction.

Lead sheets are routinely used in many genres of popular music. Lead sheets are music scores consisting of a melody and a chord grid. With the increase of online and portable music applications, the need for easily embeddable, adaptable and extensible lead sheet editing tools is pressing. We introduce LeadsheetJS, a javascript library for visualizing, editing and rendering lead sheets on multiple devices. LeadsheetJS provides lead sheet edition as well as support for extensions such as score augmentation and peer feedback. LeadsheetJS is a client-based component that can be embedded from arbitrary third-party websites. We describe the main design aspects of LeadsheetJS and some applications in online computer-aided composition tools.

This paper introduces several examples of utilizing the information design concepts of Edward Tufte in musical no- tation and score design. Tufte is generally considered a modern pioneer in the field of information design. With several authoritative texts, Tufte's work displays countless examples of successful and unsuccessful attempts of displaying information while also offering a few personal redesigns of especially troubled instances. Overall, Tufte reveals interesting concepts which could be useful when applied to designing musical notation systems. The author presents three personal notational examples which have been aided by Tufte's work. Information design is a vast multidisciplinary field which could provide composers and musicians with an abundance of technical approaches to complex notational challenges.