News & Events

June 27-30, 2018
International Conference in Cascais, Portugal
The Anatomy of Polyphonic Music around 1500

See the conference webpage for complete information.
Programme and abstracts booklet available here.

April, 7-8, 2018
Team members presenting at the conference De Canciones y Cancioneros: Music and Literary Sources of the Luso-Hispanic Song Tradition (Princeton University, US)

Tess Knighton gave the keynote speech ‘For Whom are Sweet Songs Set to Music?’ Women as Performers of and Listeners to the Cancionero Repertory. Bernadette Nelson contributed with the paper Literary Evidence for the Circulation of ‘Spanish Court’ Songs in Portugal, c. 1480-c. 1530. Nuno Raimundo presented two papers: The Cancioneiro de Paris and the Emergence of a Declamatory Song Repertory under John III of Portugal, and, co-authored with Rui Araújo, A Thorough Analysis of the Improvisatory Models of the Songs of Luis Milán and their Applicability in the Reconstruction of Vihuela Accompaniment Parts.

March 8, 2018
Cory McKay presents at CESEM

The research team organised a presentation and open workshop on music information retrieval (MIR), statistical musicological research using jSymbolic software and machine learning led by Prof. Cory McKay (Marianopolis College and CIRMMT, Canada).

November 10, 2017
A Session at the ENIM 2017 in Braga, Portugal

7th Conference on Musical Research (Universidade do Minho, Braga, Portugal)

Late 15th- and Early 16th-century Iberian Polyphonic Music and Sources

The papers presented in this session represented a sample of the current research undertaken by the group and touched upon various strands of the project. The first two papers focussed on contextual and philological issues regarding the origin and circulation of repertories. Nelson focussed on the transmission and reception of the so-called ‘Spanish Court Repertory’ in Portugal between about 1480 and the first quarter of the 16th century, while also looking at issues of functionality of this repertory in Portuguese court circles; Alvarenga examined how and when music moved across the border. The paper by Raimundo payed attention to the materiality of musical sources and presented a philological study and dating of the Cancioneiro de Paris, an essential manuscript for Portuguese secular music. Finally, Rodríguez-García’s paper dealt with analytical issues concerning the Iberian motets contained in the manuscript Tarazona 2-3. By examining the patterns of imitation in this group of pieces (and comparing them to predominant features in the canonised coeval repertory from elsewhere in Europe) the paper provided tools that will contribute to a more accurate picture of the style of Iberian music.

Bernadette Nelson (CESEM/Lisbon NOVA University, Portugal)
Music for the Court? Questions of the Circulation of Early Spanish Polyphony in Portugal and the Evidence

João Pedro d’Alvarenga (CESEM/Lisbon NOVA University, Portugal)
The Transmission of Iberian Polyphonic Music in the Early Decades of the 16th Century: Two Case Studies

Nuno Raimundo (CESEM/Lisbon NOVA University, Portugal)
A datação do Cancioneiro de Paris: Cronologia da elaboração do manuscrito F-Peb Masson 56

Esperanza Rodríguez (CESEM/Lisbon NOVA University, Portugal)
Imitation in Iberian Motets around 1500

October 21, 2017
Presenting at the Interdisciplinary Conference on Iberian Manuscripts (Lisbon, NOVA FCSH, 19-21 October 2017)

Esperanza Rodríguez and Nuno Raimundo presented the project, on behalf of the research team, during the Interdisciplinary Conference on Iberian Manuscripts, jointly organized by CESEM and IEM–Institute for Medieval Studies at the Lisbon Nova University. Their talk was part of the session ‘The Future: Research Projects on Iberian Manuscripts’.

July 6, 2017
A Session at the Med-Ren Music Conference in Prague

45th Medieval and Renaissance Music Conference (Convent of St Agnes of Bohemia, Prague, Czech Republic, 4-8 July 2017)

The Anatomy of Polyphonic Music around 1500: An Iberian Case Study

Chair: Manuel Pedro Ferreira (project consultant, CESEM/Lisbon NOVA University, Portugal)

In this session the team presented pieces of current research and work in progress. We proposed two approaches to the analysis of the repertories corresponding to two blocks: one examining genres of sacred and secular music, and the other one focusing on composers.

The first block opened with the revision of contextual issues on repertories in courtly circles, in particular within the Portuguese courts of João II (1481-95) and Manuel I (1495-1521). The two following papers dealt with stylistic markers in those repertories aiming to respond to questions such as how the Iberian composers got involved with the new French-court motet style toolbox, and what the common features of attributed and unattributed twin works appearing in close succession in sources suggest us about authorship. Finally, the last paper in this block explored possible stylistic dialogues between secular and sacred repertories.

The second block looked at three composers that represent the variety of difficulties when contextualizing and identifying this music. Until recently, Pedro de Escobar, who has a significant number of attributed pieces, was supposed to have a well-documented biography. However, recent research has possibly reduced his known existence to no more than seven years in Seville. The biographies of both Tordesillas (one of two brothers, Alonso or Pedro) and Antonio de Ribera are also problematic and they have a small attributed output. Moreover, some half of their works presents conflicting attributions. The papers examined elements of context and style in order to shed light on these issues.

Bernadette Nelson (CESEM/Lisbon NOVA University, Portugal)
Music in Context: Polyphonic Repertories at the Portuguese Royal Court and Chapel c. 1480 – c. 1520

João Pedro d’Alvarenga (CESEM/Lisbon NOVA University, Portugal)
The Iberian Motet around 1500

Owen Rees (The Queen’s College, University of Oxford, UK)
Two of a Kind: Motet Pairs and Identity Crises in the Iberian Repertory

Nuno Raimundo (CESEM/Lisbon NOVA University, Portugal)
The Sacred and the Secular in Renaissance Iberian Music: Stylistic Dialogues Between Separate Genres

Tess Knighton (CSIC/Institució Milà i Fontanals, Barcelona, Spain)
Seven Years in Seville: Pedro de Escobar and Questions of Identity and Musical Practice

Kenneth Kreitner (University of Memphis, US)
The Tordesillas Perplex

Esperanza Rodríguez (CESEM/Lisbon NOVA University, Portugal)
Reassessing Antonio de Ribera within the Iberian context

January 6, 2017
A Symposium at the Lisbon NOVA University