Music, Sound, and the Digital Humanities - par Richard Freedman (Haverford College-Centre d’études Supérieures de la Renaissance), avec la collaboration de l’Institut des Hautes Études de Belgique.
Infos pratiques :
Institut des Hautes Etudes de Belgique, Université libre de Bruxelles, avenue Jeanne, 44, Bâtiment S, Salle Baugniet
Mardi 26 novembre 2019, 16h-18h
Information et réservation souhaitée : lam@ulb.ac.be ou vdufour@ulb.ac.be
Music, Sound, and the Digital Humanities
What can the collection of methods and practices of digital scholarship teach us about music and sound? How have musicologists been using digital tools in their research and teaching in recent years? In this seminar, Prof Richard Freedman (Haverford College, USA and CESR, Tours) will explore some recent work of this type. We will start with his own projects devoted to Renaissance music, which show how digital tools can help us edit, analyze, and debate problems of musical style and structure both in the details of individual works and from the vantage point of hundreds of them at once. We will also explore a range of other digital projects (from English Broadside Ballads to historical sound archives, and beyond) in an effort to understand some of the wider implications of digital scholarship and what it might mean for our research and teaching.
Richard Freedman
Richard Freedman is Professor of Music, Associate Provost and John C. '43 Whitehead Professor of Humanities at Haverford College. He is the author of two books: The Chansons of Orlando di Lasso and their protestant listeners: music, piety, and print in sixteenth-century France (Rochester, 2001), and Music in the Renaissance, 2, vols. (New York, 2012; also available in Spanish translation via Akal publishers [2018]), as well as many essays in leading journals and encyclopedias. He has served in leadership roles for major scholarly societies: as Digital and Multimedia Scholarship Editor for The Journal of the American Musicological Society, as Chair of the Technology Committee for the American Musicological Society, as Chair of the Digital and Electronic Media Committee (and member of the Board of Directors) for the Renaissance Society of America, and as member of the Board of Directors of Répertoire International de Littérature Musicale (the leading bibliographical authority for writings on music).
Freedman's record of work with digital applications for the study of music has involved a wide range of musicologists, information scientists, and developers from the CESR in Tours, from The Maryland Institute for Technology in the Humanities (University of Maryland), from the Digital Scholarship Lab of Haverford College, as well as a dozens of participating scholars and students from around the world. The Lost Voices Project (2012–2014; http://digitalduchemin.org) was supported by prestigious awards from the National Endowment for the Humanities and the American Council of Learned Societies. His latest digital research project Citations: The Renaissance Imitation Mass (2014–Present; http://crimproject.org), has been supported by a transatlantic partnership grants from the Mellon Foundation and the Maison des sciences de l'homme. During 2019 he holds the Marie Skłodowska-Curie Research Fellowship from Le Studium (the Loire Valley Institute for Advanced Study in Orléans) to support his work with the Centre d'études supérieures de la Renaissance in Tours.
