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--- lavierge2020 [2020/04/13 17:25] – [In Music History] katz
+++ lavierge2020 [2020/04/14 13:07] – katz
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+For functional translations, please use translator options or [[https://chrome.google.com/webstore/detail/google-translate/aapbdbdomjkkjkaonfhkkikfgjllcleb|plug-ins]] in your web browser.
+Google [[https://translate.google.fr/translate?hl=fr&sl=auto&tl=fr&u=http%3A%2F%2Facoustic-task-force-notre-dame.dalembert.upmc.fr%2Fdoku.php%3Fid%3Dlavierge2020|page translations]] without audio player functionaliy.
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 ====== Hearing the Past : A virtual immersive audio concert for the ears ======
 {{ :lavierge2020:iys2020-color.png?150|}}
 ===== Recreating Notre-Dame Cathedral’s 850th anniversary performance of « La Vierge » =====
 In honour of the [[https://sound2020.org/|International Year of Sound (sound2020.org)]] and for the 1 year memorial of the Notre-Dame cathedral fire, a team of researchers and sound engineers has recreated a virtual reconstruction of a recent performance recording made in the cathedral, recreating the monumental acoustics and the event.
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 To help us understand the appreciation of this effort, and to improve future productions, we would very much appreciate it if you could take a quick __**5 min**__ to respond to the following **[[lavierge2020#listening_survey|listener survey after the audio section]]** on this site. All answers will remain totally anonymous.
-(Please note, this player is not compatible with IE)
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+Please note, this player is not compatible with IE. If you have difficulties in accessing the "play" button interfaces, please try to maximize your browser window or zoom out. There are also links (at the bottom of the player matrix) to the CNSMDP media site for each position if you prefer.
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 |	{{ :lavierge2020:binauralprod2.png |Binaural Production Use Headphones}}	^	{{ :lavierge2020:listeningpostitions4h.jpg?400 |}}	|||||
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 ^ 	n°15: L'Assomption (3:19)	| 	{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M039_015-BI.wav|Rear position}}	| 	{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M046_015-BI.wav|Middle position}}	| 	{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M051_015-BI.wav|Front position}}	| 	{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M095_015-BI.wav|Conductor position}}	| 	{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M002_006-BI.wav|Artistic mix}}	|
 |	@lightblue:**Full concert** (1h23m)	| 	@lightblue:{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M039_000-BI.wav|Rear position}}	| 	@lightblue:{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M046_000-BI.wav|Middle position}}	| 	@lightblue:{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M051_000-BI.wav|Front position}}	| 	@lightblue:{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M095_000-BI.wav|Conductor position}}	|	@lightblue:{{http://cnsmdp.vectracom.fr/media/audio/wav/CNSMDP002438M003_000-BI.wav|Artistic mix}}	|
+|  @lightblue:**Links to advanced audio players**  |  @lightblue:[[http://www.conservatoiredeparis.fr/nc/voir-et-entendre/enregistrements/article/jules-massenet-la-vierge-2|Rear position]]  |  @lightblue:[[http://www.conservatoiredeparis.fr/nc/voir-et-entendre/enregistrements/article/jules-massenet-la-vierge-5|Middle position]]  |  @lightblue:[[http://www.conservatoiredeparis.fr/nc/voir-et-entendre/enregistrements/article/jules-massenet-la-vierge-4|Front position]]  |  @lightblue:[[http://www.conservatoiredeparis.fr/nc/voir-et-entendre/enregistrements/article/jules-massenet-la-vierge-3|Conductiors position]]  |  @lightblue:[[http://www.conservatoiredeparis.fr/nc/voir-et-entendre/enregistrements/article/jules-massenet-la-vierge-1/|Artistic mix]]  |
-/* ^ Link to advanced audio player ^ [[http://www.conservatoiredeparis.fr/nc/voir-et-entendre/enregistrements/article/jules-massenet-la-vierge-1/|Artistic mix]] | */
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 For more than 850 years, Notre-Dame de Paris has been the sounding box for the city's sacred music. Built to amplify the sacred word spoken or sung, the Cathedral is a multiform sound space where the clamor of the pilgrims circulating in the ambulatory and the chanting of the services protected by the choir's enclosure, the soloist singing the mass and the humming of the low masses in the radiant chapels, used to coexist until today, when before the fire, the call to silence for noisy visitors, the sound of the masses, the bursts of sound from the great organs and the concerts alternated.
-It should be noted that as soon as it was built at the end of the 12th century, the Gothic cathedral of Notre-Dame de Paris became the emblematic place of musical creation in Europe, which historians call the "//Ecole Notre Dame//".  Documents testify to the musical activity during this period and it is possible to think that the spectacular development of this Parisian polyphony coincided with the organization of the liturgy in the new choir inaugurated in 1182: the decrees of Notre-Dame Cathedral, promulgated in 1198 and 1199 by Bishop Eudes de Sully, attest to a practice of two, three, and four voices for the responsorial chants of the mass and offices as well as for the //Benedicamus Domino// of Vespers[1]. Luckily we have the //Treatise of Anonymous IV//[2], written by an English schoolmaster, which describes the musical practices around 1275 in the choir of this Cathedral where the sound of the //organum// and semi-improvised //conductus// could rise, towards the apse, before being noted in various manuscripts which testify to the richness of the //Magnus liber organi//[3] (Latin for "Great Book of Organum" in use by the Parisian School of Notre Dame around the turn of the 12th & 13th centuries).
+It should be noted that as soon as it was built at the end of the 12th century, the Gothic cathedral of Notre-Dame de Paris became the emblematic place of musical creation in Europe, which historians call the "//Ecole Notre Dame//".  Documents testify to the musical activity during this period and it is possible to think that the spectacular development of this Parisian polyphony coincided with the organization of the liturgy in the new choir inaugurated in 1182: the decrees of Notre-Dame Cathedral, promulgated in 1198 and 1199 by Bishop Eudes de Sully, attest to a practice of two, three, and four voices for the responsorial chants of the mass and offices as well as for the //Benedicamus Domino// of Vespers<sup>[1]</sup>. Luckily we have the //Treatise of Anonymous IV//<sup>[2]</sup>, written by an English schoolmaster, which describes the musical practices around 1275 in the choir of this Cathedral where the sound of the //organum// and semi-improvised //conductus// could rise, towards the apse, before being noted in various manuscripts which testify to the richness of the //Magnus liber organi//<sup>[3]</sup> (Latin for "Great Book of Organum" in use by the Parisian School of Notre Dame around the turn of the 12th & 13th centuries).
 During the period known as //Ars Antiqua//, //i.e.// the transition period between the //Ecole of Notre-Dame// and //Ars Nova// (1320), the Cathedral gradually lost its musical supremacy as the clergy tried to maintain its high standards of musical quality by maintaining the eight children of the master's school and by financing the construction of the choir organs (circa 1334) and then the organ loft (circa 1415).
-Over the centuries, the methods evolved and with the Gregorian melodies, which escape the closed choir or circulate with the processions, the sounds of the organ, the bells, and the complex polyphonic works of the Franco-Flemish counterpoint were mixed together. "The appointment of Antoine Brumel in 1498 brought a breath of fresh air: the future choirmaster of the Duke of Ferrara brought with him the best and latest in Franco-Flemish polyphony."[4] The history of music will remember the names of great masters and composers such as André Campra, Jean-François Lalouette, or Jean-François Lesueur, who, after the revolutionary period, composed the famous March of the Coronation, for Napoleon's entry into the cathedral in 1804, and various pieces for the Coronation Mass. That was a great opportunity to hear the organ built by François-Henri Clicquot (1783), then restored again by Aristide Cavaillé-Coll, while Viollet-le-Duc proceeded with the restoration of the building.
+Over the centuries, the methods evolved and with the Gregorian melodies, which escape the closed choir or circulate with the processions, the sounds of the organ, the bells, and the complex polyphonic works of the Franco-Flemish counterpoint were mixed together. "The appointment of Antoine Brumel in 1498 brought a breath of fresh air: the future choirmaster of the Duke of Ferrara brought with him the best and latest in Franco-Flemish polyphony."<sup>[4]</sup> The history of music will remember the names of great masters and composers such as André Campra, Jean-François Lalouette, or Jean-François Lesueur, who, after the revolutionary period, composed the famous March of the Coronation, for Napoleon's entry into the cathedral in 1804, and various pieces for the Coronation Mass. That was a great opportunity to hear the organ built by François-Henri Clicquot (1783), then restored again by Aristide Cavaillé-Coll, while Viollet-le-Duc proceeded with the restoration of the building.
 During the creation of //La Vierge// by Massenet, the chapel master Charles Vervoitte (1819-1884)  restored the prestige of the music in the cathedral, the scene of the conversion of young Paul Claudel, a convinced atheist, to the Catholic faith by listening to //Magnficat// sung at Vespers on Christmas Day, 1886.
-The vaults heard everything during the 20th century, starting with the concerts of the greatest French organists and the most diverse musical groups, not forgetting the songs of the liturgy. "In 1990, Cardinal Lustiger asked Jean-Michel Dieuaide to rethink the cathedral's permanent musical system. This reflection was carried out in collaboration with Guillaume Deslandres, who founded the association Musique Sacrée à Notre-Dame de Paris (MSNDP), of which he became the first director. (…). As in its early days, music continues to play a considerable part in the influence of Notre-Dame Cathedral. The weekly organ auditions, the monthly organ recitals, the concerts given by the //Maîtrise// (choir of the Cathedral), all testify to the high standards and excellence to which all those involved in music at Notre-Dame today apply"[5], suddenly interrupted by the silence following the fire and which new technologies could accompany in order to recover the very special acoustics of the Cathedral while awaiting its reconstruction.
+The vaults heard everything during the 20th century, starting with the concerts of the greatest French organists and the most diverse musical groups, not forgetting the songs of the liturgy. "In 1990, Cardinal Lustiger asked Jean-Michel Dieuaide to rethink the cathedral's permanent musical system. This reflection was carried out in collaboration with Guillaume Deslandres, who founded the association Musique Sacrée à Notre-Dame de Paris (MSNDP), of which he became the first director. (…). As in its early days, music continues to play a considerable part in the influence of Notre-Dame Cathedral. The weekly organ auditions, the monthly organ recitals, the concerts given by the //Maîtrise// (choir of the Cathedral), all testify to the high standards and excellence to which all those involved in music at Notre-Dame today apply"<sup>[5]</sup>, suddenly interrupted by the silence following the fire and which new technologies could accompany in order to recover the very special acoustics of the Cathedral while awaiting its reconstruction.
   - The main documents evoking this practice //in organo, vel triplo vel quadruplo// were published in 1932 by Jacques Handschin: Zur Geschichte Notre-Dame, Acta Musicologica, 4, 1932, pp. 6-14. See more recently Craig Wright, //Music and Ceremony at Notre-Dame de Paris, 500-1500//, Cambridge (Mass.), Cambridge University Press, 1989, pp. 239-243 and 369-370.
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   - Edward H. Rosner (ed.), //Magnus liber organi de Notre-Dame de Paris.// Les quadrupla et les tripla parisiens, vol. 1, Monaco, L’Oiseau-Lyre, 1993, p. XIX-XXV followed by other volumes.
   - See [[https://www.notredamedeparis.fr/la-cathedrale/la-musique/1500-ans-de-musique-sacree-a-notre-dame/fondation-de-lecoleepiscopale/|L’école épiscopale]].
+  - Idem.
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   * [[http://classes.bnf.fr/echo/acoustique/|Introduction to room acoustics and auralizations]], from the ECHO project
   * [[https://evaa.lam.jussieu.fr/|EVAA]] : Experimental Virtual Archaeological-Acoustics research
+====== Contact ======
+If you have any question or comments, please contact <brian.katz@sorbonne-universite.fr>.