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This shows you the differences between two versions of the page.

--- lavierge2020 [2020/04/13 17:27] – [In Music History] katz
+++ lavierge2020 [2020/06/15 10:03] (current) – katz
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 ====== Hearing the Past : A virtual immersive audio concert for the ears ======
 {{ :lavierge2020:iys2020-color.png?150|}}
+<hi #fff200>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]] work for text, but without audio player functionaliy.
+</hi>
 ===== 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)
+<WRAP center round info 80%>
+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.
+</WRAP>
 |	{{ :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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 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.
 <WRAP right>
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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>.