{"id":76855,"date":"2026-11-02T11:30:48","date_gmt":"2026-11-02T10:30:48","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/?p=76855"},"modified":"2026-11-02T11:03:58","modified_gmt":"2026-11-02T10:03:58","slug":"vom-pergament-zum-pixel-und-zurueck","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/berichte\/2026\/11\/vom-pergament-zum-pixel-und-zurueck","title":{"rendered":"From Parchment to Pixels (and Back)"},"content":{"rendered":"
\"\"
For musicologists, working with primary sources should not be a tedious chore, but rather an exciting opportunity. Image: Wikimedia Commons \/ Valerie McGlinchey<\/figcaption><\/figure>\n

Every year, the Istituto Svizzero in Rome hosts summer schools on its premises. This year, the contract was awarded to the Institute of Musicology at the University of Zurich. From July 19 to 24, Nicol\u00f2 Ferrari and Inga Mai Groote organized a diverse program spanning musicology, the digital humanities, and performance practice, featuring workshops, lectures, discussions, and a concert. The theme was \u00abFrom Parchment to Pixel and Back.\u00bb The focus was thus on \u00abauthentic\u00bb manuscripts and their digital copies. For the twelve doctoral students and faculty members from the universities of Zurich, Regensburg, Leuven, and Pavia, it was a challenging and rewarding week.<\/p>\n

The focus was on a subdiscipline of musicology that is usually seen merely as a means to an end: codicology, that is, the scholarly description of historical manuscripts and printed works. Although \u00absource criticism\u00bb is often a required course in musicology programs\u2014after all, sources are at the heart of historical research\u2014it is rare to gain such a clear understanding of the significance of this discipline as one does at this summer school.<\/p>\n

Source criticism has demonstrated its full potential in current research: It continues to evolve in practice, influences the digital representation of sources, and has a reciprocal effect on performance practice. On this rich range of topics, the Lamentations of Jeremiah<\/em> Tom\u00e1s Luis de Victoria was chosen as the central case study. The idea proved to be an effective \u00abglue\u00bb that brought together source research, performance practice, and issues related to digitization.<\/p>\n

Codicology: Rome as a Treasure Trove of Sources<\/strong><\/h3>\n

As trite as it may sound, the first insight was that sources are physically bound. This has both advantages and disadvantages. Like almost no other city, Rome offers a wealth of musical sources in a small area\u2014not just in a central library, but scattered throughout the city. The presentations by the researchers at the Istituto Svizzero\u2019s villa (Antonio Chemotti, Daniele Sabaino, Katelijne Schiltz, Inga Mai Groote) primarily provided context for the sources, most of which the group \u00abdiscovered on foot.\u00bb.<\/p>\n

The participants gained practical insights during a visit to the archives at the Spanish National Church, Santa Maria in Monserrato degli Spagnoli\u2014one of the places where Victoria worked (which houses a copy of the printed edition of his Holy Week music). There, Rector Don Jos\u00e9 Jaime Brosel Gavil\u00e1 also presented them with the files on Victoria. At the Biblioteca Casanatense, participants were able to experience the physical nature of the musical sources firsthand: original manuscripts from the 16th and 17th centuries\u2014such as a choir book, a cantata manuscript, and a chansonier\u2014offered the opportunity to appreciate their weight, texture, and simply the striking differences in size. (A pleasant side effect of archival research in the summer of 2026: spending time in rooms that are almost always air-conditioned to protect the sources.)<\/p>\n

\"\"
Participants and instructors at the Summer School in the Salone Sistino of the Vatican Apostolic Library with the head of the Manuscripts Department, Dr. Claudia Montuschi (front row, center). Photo: Courtesy of the organizer<\/figcaption><\/figure>\n

A particular highlight was the exclusive access to the impressive Salone Sistino of the Vatican Library. After a personal welcome from the Prefect of the Library, Don Mauro Mantovani, the participants examined the musical manuscripts of the Cappella Sistina, including a little-known handwritten version of the Lamentationes<\/em>. They also had the opportunity to view the famous Chigi Codex, one of the most magnificent musical manuscripts of the Renaissance. What could easily have come across as a mere tourist outing turned into an in-depth exploration of the collection\u2014thanks to the explanations provided to the participants by Claudia Montuschi, director of the Vaticana Manuscript Collection, and the editors of the forthcoming Cappella Sistina catalog (Thomas Schmidt, Nicol\u00f2 Ferrari). A workshop (led by Nicol\u00f2 Ferrari) at the German Historical Institute offered all participants the opportunity to gain hands-on experience with musical manuscripts from the institute\u2019s collection.<\/p>\n

Performance Practice: The Case of Victoria<\/strong><\/h3>\n

This work was contrasted with on<\/i> the sources, with a performance from<\/i> the sources. The summer school also included a sold-out public concert featuring the Cantor\u00eda ensemble, conducted by Jorge Losana, at the Church of Santa Maria in Monserrato. (Sponsored by Spanish cultural institutions and the embassies of Spain and Switzerland to the Holy See.) Victoria\u2019s Tenebrae<\/i>-The responsories were performed in an atmosphere of deep solemnity, accompanied by the traditional liturgical practice of gradually extinguishing the candles.<\/p>\n

The preliminary discussion with the ensemble director in the Sala Dal\u00ed at the Instituto Cervantes made it clear that this staged, quasi-liturgical reconstruction had been created in collaboration with theologians and musicologists from various European countries. Losana emphasized, however, that his ensemble was never concerned with a \u00abhistorically accurate\u00bb reconstruction, but rather with an inspired, artistic performance.<\/p>\n

The workshop held the next day between the Summer School participants and the ensemble demonstrated just how closely the musical and scholarly examination of the repertoire is intertwined with analytical, historical, and performative arguments. This creates a productive point of tension that benefits both the performance and the scholarly interpretation of the sources. The ensemble sang movements from the Lamentations, comparing the manuscript and printed versions. The discussion that followed highlighted the differences between a more pragmatic style of notation and compositionally more complex variants. The printed version likely documents the \u00abimproved\u00bb version desired by Victoria.<\/p>\n

Digitization: The (In)visibility of Sources<\/strong><\/h3>\n

Another aspect was the digitization of the sources and their publication in the digital realm. The focus here was on a hands-on workshop on digital editing (Hein Sauer) and a roundtable discussion with \u00c1ngela N\u00fa\u00f1ez Gait\u00e1n (Chief Conservator of the Vaticana) and musicologists Antonio Chemotti (KU Leuven) and Hein Sauer. The discussion addressed the central issues of digitization: visibility, accessibility, source preservation, and examples of best and worst practices. For conservator N\u00fa\u00f1ez Gait\u00e1n, the preservation of endangered manuscripts through digitization was paramount. For project director Chemotti, the key was collaboration among institutions to facilitate public outreach. According to Sauer\u2019s research findings, the risk of unequal access to the originals\u2014depending on the size and resources of the libraries\u2014remains a pressing problem for archive users.<\/p>\n

In the end, one thing was clear: Any digital project or tool only realizes its full potential when it is built on a foundation of knowledge of the sources and a commitment to making those sources truly accessible. A digital edition is only as good as the understanding of the manuscript on which it is based; a database is only useful when accompanied by critical reflection on its own creation. Even seemingly independent things like machine transcriptions are not neutral tools. This is because collections are rarely already suitable for such purposes, and even then, the data often needs to be post-processed to be usable for scholarly purposes. Ultimately, everyone agreed: The guiding principle must be \u00abGood things take time.\u00bb It is better to digitize slowly and with high quality than quickly and superficially. Contrary to some opinions, digitization does not render source criticism obsolete; on the contrary, it makes it even more important.<\/p>\n

Overall, the multifaceted Summer School placed the \u00aband Back\u00bb\u2014that is, a return to the sources\u2014at the forefront, without resorting to a trite \u00abad fontes\u00bb rallying cry. Rather, it offered participants the opportunity to discover the beauty of codicology and its spaces, to become aware of the significance of source work for practical applications, and to take advantage of the benefits of digitization. The importance of visiting archives should not be overlooked, as by no means all sources have been found or analyzed. The Summer School demonstrated that the required course in source criticism can become an elective\u2014and that the combination of traditional source research and digital methods is not only possible but indispensable for the future of musicology and must also be integrated into teaching.<\/p>","protected":false},"excerpt":{"rendered":"

Digitization does not make source criticism obsolete; rather, it makes it more important. That is the conclusion of the summer school held this year in Rome by the Institute of Musicology at the University of Zurich.<\/p>","protected":false},"author":58087,"featured_media":76863,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[28,1540],"tags":[4264,1958,5903,5902],"class_list":["post-76855","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-berichte","category-tagungen","tag-digitalisierung","tag-musikwissenschaftliches-institut-der-universitaet-zuerich","tag-quellenkunde","tag-rom"],"acf":{"author":"Hein Sauer"},"yoast_head":"\nVom Pergament zum Pixel (und zur\u00fcck) - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/en\/berichte\/2026\/11\/vom-pergament-zum-pixel-und-zurueck\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vom Pergament zum Pixel (und zur\u00fcck) - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Digitalisierung macht Quellenkunde nicht \u00fcberfl\u00fcssig, sondern wichtiger. 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