ABSTRACT

Manuscript surveys, digitization efforts, database building: all have been pursued in the past fifteen years at the Centre for the Study of the Sociology and Aesthetics of Music (CESEM) in Lisbon’s Universidade Nova. In so doing, the materiality of medieval and Renaissance codices has been both confronted and abstracted from. Digital tools have been used to expand the reach of past methodologies, but research has also been transformed by their power and ubiquity. This paper will contrast the situation before and after 2010, addressing the ways in which Lisbon-based research on music-related codices and fragments has furthered awareness of their characteristics. The manuscripts referred to include the Ajuda songbook, the Cantigas de Santa Maria codices, and, among the many manuscripts included in the Portuguese Early Music database, the twelfth-century plenary Missal in the Salamanca University Library.

摘要

手稿调查、数字化工作、数据库建设：过去 15 年里，里斯本新星大学的社会学和音乐美学研究中心 (CESEM) 一直在进行这些工作。在这样做的过程中，中世纪和文艺复兴时期法典的物质性既被面对又被抽象出来。数字工具已被用于扩大过去方法的范围，但研究也因其力量和无处不在而发生了转变。本文将对比 2010 年前后的情况，探讨以里斯本为基础的音乐相关抄本和片段研究如何进一步提高对其特征的认识。提到的手稿包括 Ajuda 歌曲集、Cantigas de Santa Maria抄本，以及在葡萄牙早期音乐数据库中包含的众多手稿中，萨拉曼卡大学图书馆的十二世纪全会弥撒曲。