Congreso Internacional de Musicología JAM


Iain Fenlon (Universidad de Cambridge)

Lugar: Palacio de Congresos y Exposiciones de Oviedo, Sala de Cristal
Día: Sábado 10 de Noviembre
Hora: 13:00h-14:00h

Despite the efforts of historians to explore the totality of human experience, consideration of sound has remained until comparatively recently somewhat isolated from general trends in urban history. The term ‘soundscape’ was first coined by Buckminster Fuller, who formed it by implicit analogy with more familiar English words such as ‘cityscape’ and ‘landscape’. Fundamentally concerned with the relationship, mediated through sound, between human beings and their environments, it was initially refined as a concept by French cultural historians and social theorists such as Alain Corbin and Jacques Attali, who in their different ways expanded the dimensions of the urban landscape to embrace a more inclusive sonic range stretching from noise to music as conventionally described. Nonetheless, it eludes easy definition. Among historical musicologists, Reinhard Strohm’s powerful evocation of the urban sounds of late medieval Bruges has provided a pioneering template for many studies of the sound world of both Europe and elsewhere. Since its publication some thirty years ago, many music historians have explored the idea of soundscape, though often in a rather conservative way that places the emphasis upon the traditional concerns of historical musicology with institutions and notated repertories. In practice, research into soundscapes relates to many disciplines, including anthropology, architecture, theology, and acoustic ecology, and it is precisely at the intersection of historical musicology with adjacent fields of study that the future lies.    


Iain Fenlon has now retired from teaching at the Faculty of Music, but until September 2017 was Professor of Historical Musicology.  He is a Fellow of King’s College. He is also a Fellow of the Royal Historical Society, and a Visiting Professor in Heidelberg, 2016-17.

He studied at Reading (BA 1970), Birmingham (MA 1971) and Cambridge (PhD 1977). In 1973-4 he was an advisory editor for Grove 6, then Hayward Research Fellow at the University of Birmingham (1974-5), a fellow of Villa I Tatti, (Harvard Center for Italian Renaissance Studies) Florence (1975-6), and Junior and subsequently Senior research fellow at King’s College, Cambridge (1976-83). From 1979 he was Lecturer at Cambridge, and in 1996 was appointed Reader. He has held visiting appointments at Wellesley College, Massachusetts (1978-9), Harvard University (1984-5), the British School in Rome (1985), the Centre de Musique Ancienne, Geneva (1988-9), the École Normale Superiéure, Paris (1998-9), and the University of Bologna (2000-2001). In 1984 he was awarded the Dent Medal of the Royal Musical Association, and was elected Fellow of the Society of Antiquaries in 1989. He has also held Visiting Fellowships at All Souls College, Oxford (1991-2), and New College, Oxford (1992), and is Honorary Keeper of the Music at the Fitzwilliam Museum, Cambridge. Fenlon is the founding editor of Early Music History (1981-). He has recently been elected a member of the Academia Europaea (2013).

His principal area of research is music from 1450 to 1650, particularly in Italy. An early monograph on music on 16th-century Mantua explores how the Gonzaga family patronised the reform of liturgical music and the secular arts of spectacle. With James Haar he has written a study of the emergence of the Italian madrigal, which establishes the importance of its Florentine origins, and his 1994 Panizzi lectures on early Italian music print culture are published by The British Library. Giaches de Wert: Letters and Documents (Paris, 1999) provides editions with commentary of the composer’s letters, including an important cache of autographs discovered in the late 1990s. Most of his writings, some of which are gathered together in Music and Culture in Late Renaissance Italy (Oxford, 2000), explore how the history of music is related to the history of society. His most recent book is The Ceremonial City: History, Memory and Myth in Renaissance Venice (Yale, 2007).  His most recent books include Piazza San Marco: Theatre of the Senses, Market Place of the World (Harvard, 2012) and Heinrich Glarean’s Books: The Intellectual World of a Sixteenth-Century Musical Humanist (Cambridge, 2013).

Congreso Internacional de Musicología JAM / Author & Editor

Congreso organizado por las asociaciones de jóvenes musicólogos JAM Asturias y JAM Madrid

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