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--- start [2022/12/28 11:29] – [ECHO Project] admin
+++ start [2024/10/27 13:36] (current) – [HeSoAN] admin
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 ==== ECHO Project ====
-{{ :echo:echo-anr-logo.png?200|}} ECHO is a collaborative research project.  Partners in the project include researchers from a wide range of disciplines focusing on history of theatrical arts and room acoustics. ECHO is a French ANR funded project [[https://anr.fr/Projet-ANR-13-CULT-0004|(ANR-13-CULT-0004)]], 12/2013--06/2017.
+{{ :echo:echo-anr-logo.png?200|}} ECHO is a collaborative research project.  Partners in the project include researchers from a wide range of disciplines : theatre professionals trained in history, anthropology, architecture, literature, music and aesthetics, researchers in sociology and philosophy, curators specialized in theatre and audiovisual, sound engineers and acousticians specializing in room acoustic simulations. ECHO is a French ANR-funded project [[https://anr.fr/Projet-ANR-13-CULT-0004|(ANR-13-CULT-0004)]], 12/2013--06/2017.
-  * THALIM-CNRS, équipe ARIAS (Atelier de recherche sur l'intermédialité et les arts du spectacle)
+  * [[https://www.thalim.cnrs.fr/|THALIM-CNRS]], équipe ARIAS (Atelier de recherche sur l'intermédialité et les arts du spectacle)
-  * BnF (Bibliothèque nationale de France), département des Arts du spectacle
+  * [[https://www.bnf.fr/fr/departement-des-arts-du-spectacle|BnF (Bibliothèque nationale de France), département des Arts du spectacle]]
   * LIMSI-CNRS, groupe Audio & Acoustique (now part of [[http://www.lam.jussieu.fr/|LAM, d'Alembert, Sorbonne University]]).
-  * CRIalt, Montréal (Québec, Canada)
+  * CRIalt, Montréal [[http://crialt-intermedialite.org/eng|Centre de recherche intermédiale sur les arts, les lettres et les techniques]]
-  * Universiteit van Amsterdam (UvA), Theaterwetenschap
+  * Universiteit van Amsterdam, [[http://www.uva.nl/disciplines/theaterwetenschap|Theaterwetenschap (UvA)]] et  [[http://www.uva.nl/over-de-uva/organisatie/faculteiten/content/faculteit-der-geesteswetenschappen/faculteit-der-geesteswetenschappen.html|Faculteit der Geesteswetenschappen, Capaciteitsgroep Media & Cultuur (UvA)]]
 ECHO was born out of the idea that the study of Western theatre, despite its vocal, sound, and acoustic aspects, was no exception to the overvaluation of the visual. The research prolonged an initial project titled “Theatre Sound (19th - 21st centuries)” with a refocusing on three aspects: on France, on the second half of the 20th century, and on the spoken voice. The ECHO project approached theatre as a space organised by and for the spoken voice, thus returning to the commonly accepted definition by modern acousticians of the theatrical space (end of the 19th - beginning of the 20th), which seemed to be less suitable: technologies (from microphones to tape recorders) had transformed the sound of the theatre; significantly, the relation to the text, to the verbal, to the language (here, the French language) had experienced major transformations. Based on the hypothesis that, in the vital domain of language, transformation does not denote disappearance, the team explored how artists and technicians, from post-World War II to the end of the 1990s, have renewed the conditions and forms of the stage spoken word and its listening. In doing so, ECHO has allowed the reintegration of the theatre, an art which has contributed to structure Western society, within today’s crucial reflections on our relationship to the art of practicing (listening, reading, memorising, vocalising – singing) a written or elaborated language.
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 The ECHO project was the principal support through which the [[https://evaa.lam.jussieu.fr/doku.php?id=start#ghost_orchestra|Ghost Orchestra]] and [[https://evaa.lam.jussieu.fr/doku.php#cloud_theatre|Cloud Theatre]] projects were carried.
-Additional information is available here on the [[ECHOproject|ECHO project]].
+Additional information is available here : [[ECHOproject|ECHO project]].
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 ==== I.M.A.P.I. ====
-{{ :imapi:imapi.png?200|}}
+{{ :imapi:imapi-prism-1300x350.png?300|}}
 The [[https://imapi.hypotheses.org/|I.M.A.P.I]] project (Interprétation Musicale en Acoustique Patrimoniale Immersive) is part of the archaeo-acoustic framework and consists of an attempt to recreate the historical ambiances of a major heritage site for music in the Mediterranean region: the Pontifical Chapel of the Palace of the Popes in Avignon. This building, which was one of the major centers of polyphony in the 14th century, is still today one of the most suitable places in the region for the interpretation of medieval vocal music as instrumental music. The aim is to question the listening of 14th century heritage music through a corpus of polyphonic works, interpreted via an immersive virtual acoustic environment reproducing the papal chapel around 1362. This reconstruction will enable exploring new avenues of research into historically informed musical practices and the interaction between the musical gesture and sound space with which it resonates.
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+==== HeSoAN ====
+{{ :hesoan:hesoan.jpg?200|}}
+The HeSoAN (Hear the Sound of Ars Nova) project aims to conduct experimental research on the interpretation of //Ars Nova// music, as it was sung in the papal chapel of Avignon in the 14th century. Led by [[https://ideas-cnrs.univ-amu.fr/annuaire/julien-ferrando|Julien Ferrando]], this research is carried out within an experimental framework in archaeoacoustics, relying on a 3D architectural survey that accurately reconstructs the ceremonial space of the papal chapel as it resonated around 1362. The project will allow for a detailed investigation into the auditory experience of musicians (performances within the reconstructed medieval context) as well as the heritage dimension (the reception of the works in the medieval acoustics). It will also examine the reception of polytextual musical works (motets and mass movements), furthering our understanding of the effects of compositional techniques and the subtle interactions between text and music as conveyed to various audiences. The HeSoAN project will offer a new way of understanding the musical and sonic history of this significant medieval monument.
+In 2024-2025, a series of experiments will be conducted with the LAM team (IJLRDA, SU), the IDEAS laboratory (CNRS / Aix-Marseille University), the Musica Nova ensemble (Lucien Kandel), and the Diabolus in Musica ensemble (Nicolas Sansarlat). This innovative experimental setup will open up new avenues of research into the musical gestures that emerge from these experiments.
+Through a selected corpus of monodic and polyphonic productions linked to the papal chapel, this experimentation will facilitate:
+  - Archaeoacoustic studies concerning the placement of singers within the ceremonial space of the 14th century.
+  - Proposition of an immersive museum journey into the musical history of the Palais des Papes in the 14th century.
+Preliminary results of the experiments and analysis of performers' testimonies will be presented through a series of filmed interviews and post-experimentation surveys. This project falls within the realm of practice-based research, with collaborations between scientists & scholars (musicologists, acousticians, aestheticians) and artists. The experimental immersive heritage acoustics recordings will contribute to the future immersive visitor experience of the Palais des Papes.
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+==== AEEHmusic ====
+{{ :hvb:chantnoirlac04.jpg?200|}}
+The [[https://www.mshb.fr/projet/aeehmusic|AEEHmusic]] project (Archaeological-Acoustic Exploration of a Liturgical Chant Model (Hildegard of Bingen) in the Context of Early European Music of the First Millennium) is a collaboration led by [[https://perso.univ-rennes2.fr/geraldine.demombynes|Géraldine Gaudefroy-Demombynes]], Associate Professor in Musicology at the Université Rennes 2.
+The aim of this project is to revive nine sacred female monodic a capella songs in Latin by Hildegard of Bingen, taken from her Symphonie des Harmonies et révélations célestes, using a multidisciplinary approach supported by a team of specialists in the relationship between the written word and sound, vocal expression and acoustics. The aim is threefold: a historically informed reconstruction, an acoustic analysis of Hildegard's chants in the acoustics closest to Benedictine abbeys, and a professional audio-visual recording of the liturgical corpus thus formed, the Vespers for Mary - by 12 singers from the Ensemble Organum (dir. Marcel Pérès). The humanities component is based on musical archaeology (musical manuscripts), Marian worship, Rhenish liturgical aesthetics and religious architecture. The acoustic sciences are using special software to analyse the phonatory and frequency signatures of the chants. A second corpus of monodies, four gwerzioù (a capella and in Breton on themes relating to the sacred), will be produced in the same ecological conditions as Hildegarde's songs, by the same singers, and the MAX PLANCK Institute will initiate the first auditory cognition study on these two corpora. The multidisciplinary approach should make it possible to specify the musical and acoustic specificities of each of the two corpora.
+Further branches of the umbrella HVBingenproject© will address other aspects or perspectives around the works of Hildegard of Bingen.
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 ===== Contact =====
 Inquiries regarding EVAA should be addressed to <brian.katz@sorbonne-universite.fr>