Corpus of Recorded Counterpoint Examples (CRCE), vol. 2: Melchor de Torres — 25 Solo Counterpoint Examples
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| Format: | Recurso digital |
| Langue: | anglais |
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Zenodo
2026
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| _version_ | 1866901884083634176 |
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| author | Parrilla López, Vicente |
| author_facet | Parrilla López, Vicente |
| contents | <h2>Description</h2> <p>The <em>Corpus of Recorded Counterpoint Examples (CRCE), vol. 2: Melchor de Torres — 25 Counterpoint Examples</em>presents instrumental recordings of the counterpoint examples transmitted in Melchor de Torres’s <em>Arte ingeniosa de música</em> (Alcalá de Henares, 1566 [1544]). The recordings form part of the multi-volume <em>Corpus of Recorded Counterpoint Examples </em>(CRCE), a research dataset documenting historically informed realisations of counterpoint examples preserved in Renaissance music theory treatises.</p> <h2>Contents</h2> <p>This dataset contains the complete set of recordings corresponding to the examples transmitted in Torres’s treatise. Audio files are provided in both FLAC and MP3 formats and are accompanied by a volume-specific metadata file describing the musical, analytical, and editorial characteristics of each example.</p> <div><strong>Corpus-level navigation and listening</strong> are supported through:</div> <div> <ul> <li><a title="improvisedcounterpoint.com/recordings/listen" href="https://improvisedcounterpoint.com/recordings/listen">https://improvisedcounterpoint.com/recordings/listen</a> — volume-based listening interface</li> </ul> </div> <div> <ul> <li><a title="improvisedcounterpoint.com/search" href="https://improvisedcounterpoint.com/search">https://improvisedcounterpoint.com/search</a> — corpus-level analytical navigation and playback environment</li> </ul> </div> <div>These interfaces provide structured access to the recordings in alignment with the metadata model and analytical organisation of the corpus.</div> <div> </div> <div><strong>Treatise-specific companion sites</strong> currently available within the project include:</div> <div> <ol> <li><a title="https://aranda.improvisedcounterpoint.com" href="https://aranda.improvisedcounterpoint.com">https://aranda.improvisedcounterpoint.com</a> — Mateo de Aranda, <em>Tractado de canto llano: y contrapunto</em> (1535)</li> <li><a title="https://lusitano.improvisedcounterpoint.com" href="https://lusitano.improvisedcounterpoint.com">https://lusitano.improvisedcounterpoint.com</a> — Vicente Lusitano, [<em>Trattado grande de musica pratica</em>] (F-Pn Esp. 219, ca. 1550)</li> </ol> <div>The recordings may be consulted both as standalone analytical materials and through several complementary modes of access within the broader CRCE framework.</div> </div> <h2>Corpus context</h2> <p>The CRCE documents historically informed realisations of counterpoint examples preserved in Renaissance theoretical sources, including treatises by Mateo de Aranda, Melchor de Torres, and Vicente Lusitano. Together, these recordings support research on historical improvisation, contrapuntal pedagogy, and the aural-procedural foundations of Renaissance polyphony.</p> <p>The corpus forms part of the <a title="https://zenodo.org/communities/improvised-counterpoint/" href="https://zenodo.org/communities/improvised-counterpoint/"><em>Improvised Counterpoint Sources and Corpora</em></a> community on Zenodo, which brings together digital corpora of primary sources and related audio datasets within a unified research framework.</p> <h2>Research framework</h2> <p>The recordings were produced by <a title="https://vicenteparrilla.com" href="https://vicenteparrilla.com">Vicente Parrilla</a> as part of the doctoral research project <em>Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations</em>, carried out at KU Leuven / LUCA School of Arts (docARTES programme) with the support of a PhD Fellowship from the Research Foundation – Flanders (FWO, project no. 11A9922N).</p> <h2>Related dataset</h2> <p>Metadata, technical documentation, and corpus-wide information are provided in:</p> <p><em>Corpus of Recorded Counterpoint Examples (CRCE): Metadata, Documentation, and Corpus Overview</em><br><a href="https://doi.org/10.5281/zenodo.18648158" target="_new" rel="noopener">https://doi.org/10.5281/zenodo.18648158</a></p> <h2>Project website</h2> <p>Further information, related publications, and additional resources are available at:<br><a href="https://improvisedcounterpoint.com/" target="_new" rel="noopener">https://improvisedcounterpoint.com</a></p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_18944767 |
| institution | Zenodo |
| language | eng |
| publishDate | 2026 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | Corpus of Recorded Counterpoint Examples (CRCE), vol. 2: Melchor de Torres — 25 Solo Counterpoint Examples Parrilla López, Vicente Renaissance counterpoint counterpoint improvised counterpoint Melchor de Torres historical improvisation counterpoint pedagogy Renaissance music theory digital musicology music corpus <h2>Description</h2> <p>The <em>Corpus of Recorded Counterpoint Examples (CRCE), vol. 2: Melchor de Torres — 25 Counterpoint Examples</em>presents instrumental recordings of the counterpoint examples transmitted in Melchor de Torres’s <em>Arte ingeniosa de música</em> (Alcalá de Henares, 1566 [1544]). The recordings form part of the multi-volume <em>Corpus of Recorded Counterpoint Examples </em>(CRCE), a research dataset documenting historically informed realisations of counterpoint examples preserved in Renaissance music theory treatises.</p> <h2>Contents</h2> <p>This dataset contains the complete set of recordings corresponding to the examples transmitted in Torres’s treatise. Audio files are provided in both FLAC and MP3 formats and are accompanied by a volume-specific metadata file describing the musical, analytical, and editorial characteristics of each example.</p> <div><strong>Corpus-level navigation and listening</strong> are supported through:</div> <div> <ul> <li><a title="improvisedcounterpoint.com/recordings/listen" href="https://improvisedcounterpoint.com/recordings/listen">https://improvisedcounterpoint.com/recordings/listen</a> — volume-based listening interface</li> </ul> </div> <div> <ul> <li><a title="improvisedcounterpoint.com/search" href="https://improvisedcounterpoint.com/search">https://improvisedcounterpoint.com/search</a> — corpus-level analytical navigation and playback environment</li> </ul> </div> <div>These interfaces provide structured access to the recordings in alignment with the metadata model and analytical organisation of the corpus.</div> <div> </div> <div><strong>Treatise-specific companion sites</strong> currently available within the project include:</div> <div> <ol> <li><a title="https://aranda.improvisedcounterpoint.com" href="https://aranda.improvisedcounterpoint.com">https://aranda.improvisedcounterpoint.com</a> — Mateo de Aranda, <em>Tractado de canto llano: y contrapunto</em> (1535)</li> <li><a title="https://lusitano.improvisedcounterpoint.com" href="https://lusitano.improvisedcounterpoint.com">https://lusitano.improvisedcounterpoint.com</a> — Vicente Lusitano, [<em>Trattado grande de musica pratica</em>] (F-Pn Esp. 219, ca. 1550)</li> </ol> <div>The recordings may be consulted both as standalone analytical materials and through several complementary modes of access within the broader CRCE framework.</div> </div> <h2>Corpus context</h2> <p>The CRCE documents historically informed realisations of counterpoint examples preserved in Renaissance theoretical sources, including treatises by Mateo de Aranda, Melchor de Torres, and Vicente Lusitano. Together, these recordings support research on historical improvisation, contrapuntal pedagogy, and the aural-procedural foundations of Renaissance polyphony.</p> <p>The corpus forms part of the <a title="https://zenodo.org/communities/improvised-counterpoint/" href="https://zenodo.org/communities/improvised-counterpoint/"><em>Improvised Counterpoint Sources and Corpora</em></a> community on Zenodo, which brings together digital corpora of primary sources and related audio datasets within a unified research framework.</p> <h2>Research framework</h2> <p>The recordings were produced by <a title="https://vicenteparrilla.com" href="https://vicenteparrilla.com">Vicente Parrilla</a> as part of the doctoral research project <em>Renaissance Improvised Counterpoint: Rethinking Concept, Cognition, and Aural Foundations</em>, carried out at KU Leuven / LUCA School of Arts (docARTES programme) with the support of a PhD Fellowship from the Research Foundation – Flanders (FWO, project no. 11A9922N).</p> <h2>Related dataset</h2> <p>Metadata, technical documentation, and corpus-wide information are provided in:</p> <p><em>Corpus of Recorded Counterpoint Examples (CRCE): Metadata, Documentation, and Corpus Overview</em><br><a href="https://doi.org/10.5281/zenodo.18648158" target="_new" rel="noopener">https://doi.org/10.5281/zenodo.18648158</a></p> <h2>Project website</h2> <p>Further information, related publications, and additional resources are available at:<br><a href="https://improvisedcounterpoint.com/" target="_new" rel="noopener">https://improvisedcounterpoint.com</a></p> |
| title | Corpus of Recorded Counterpoint Examples (CRCE), vol. 2: Melchor de Torres — 25 Solo Counterpoint Examples |
| topic | Renaissance counterpoint counterpoint improvised counterpoint Melchor de Torres historical improvisation counterpoint pedagogy Renaissance music theory digital musicology music corpus |
| url | https://doi.org/10.5281/zenodo.18944767 |