Citations: The Renaissance Imitation Mass (CRIM) is a digital project
devoted to the problem of similarity, borrowing, and transformation in
Renaissance counterpoint (and beyond). It is also devoted to collaborative
learning, research, and publication. I write to invite anyone interested in
these topics to take part in this work. Your particular level of expertise
with Renaissance music, counterpoint, borrowing, or digital humanities does
not matter: everyone is welcome to discover things that will most satisfy
their curiosity!

The aims of CRIM are both broad and deep:

   - to deepen our sense of Renaissance counterpoint as an art of
   combinations, by comparing models with the cyclic Masses derived from them,
   and to put these ideas in the broader history of musical borrowing and
   - to connect musicologists and musicians with each other, and with
   experts from the digital humanities and data science
   - to link students and scholars across institutions from around the
   world, and in particular to expand the reach of digital scholarship to
   those who have not previously had the chance to participate in its creation
   - to create sustainable models of collaborative learning, research, and
   scholarly communication.

Please read more about CRIM at , and tell me how you
might like to be involved (there is a convenient form as part of the
prospectus for the project, or be in touch with me directly).

CRIM is made possible with major support from the American Council of
Learned Societies (Digital Extension Grant, 2020-2022), the Programme
transatlantique de collaboration en humanités numériques (Mellon
Foundation-Fondation maison des sciences de l’homme, 2014-2017), as well as
ongoing support from Haverford College, the Centre d’études supérieures de
la Renaissance (Tours, France).

Richard Freedman
Professor of Music; John C. Whitehead ’43 Professor of
Humanities; Associate Provost
Haverford College
rfreedma -at- 


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