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:
Please read more about CRIM at http://bit.ly/CRIM_2020, 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).
- 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 imitation
- 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.
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).
Professor of Music; John C. Whitehead ’43 Professor of Humanities; Associate Provost
rfreedma -at- haverford.edu
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