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parallel with the university research that he carried out to feed them from this confrontation with the reality of interpretation. Declamation was important for him because the accentuation of the text influenced his interpretation: "By choosing, on the other hand, the restitution of the declamation and the ancient pronunciation, we make the bet that polyphony will find in this apparent archaism the catalyst of its modernity". It is in order to reveal this apparent contradiction that he subsequently gave his
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138:... Still with the same aim of reviving early music, he is at the origin and elaborates the Ricercar program of the CESR whose missions, still today, are to collect a collection of Renaissance musical documentary material and to create the means for its valorization. He created the "Centre de musique ancienne" following the symposium
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This dual status, as a specialist in
Renaissance polyphony and artistic director, allows him to be invited to work in various centres or places dedicated to polyphony in France, notably for the Institut de Musique Ancienne de Saintes. He is also called upon to write numerous program notes and record
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held in the Centre region in 1991. He wants to make it a complementary tool for the dissemination of concerts in the service of early music.. This center was also intended to disseminate musicological discoveries through musical publishing and the organization of colloquia, the most emblematic of
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In
November 1973, he founded the university ensemble of early music whose first auditions took place the following month and the first concert, 25 April 1974, in the Amphitheatre of the Faculty of Letters of Tours. An intense activity of dissemination and animation of the heritage opened up in
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Jean-Pierre
Ouvrard summed up his own career path as follows: "Around what I try to do in the various aspects of my work as a musician and academic, there is a great deal of coherence. Thanks to these different structures present in Tours, there is a very strong complex linked to
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In this search for authenticity, he hoped that the works performed would have the same sonorities as at the time of their first performances. Five centuries later, these "old stones" were again animated by the breath of the
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region become a centre of excellence for
Renaissance music." There is no doubt that today the ancient music owes much to him and that it has radiated in the musical landscape in general, well beyond the
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Despite the significant share of the "Ensemble
Jacques Moderne" in his professional activity, Jean-Pierre Ouvrard pursues a brilliant career as a musicologist. From professor of
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95:- an ancient music that had been forgotten or even lost - and to make it resonate again in a region dotted with masterpieces of architecture from the same period.
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Jean-Pierre
Ouvrard could not content himself with theory alone through musicological study and, above all, to continue his vocal practice, but wanted to revive
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and after literary studies at the
University of Angers, Jean-Pierre Ouvrard became Tourangeau to satisfy his "bound" passions for music and the Renaissance.
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He considered that this historical period had produced a kind of ideal of vocal expression. He studied musicology at the
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at the "Centre d'études supérieures de la
Renaissance" he became director of the Music and Musicology Department of the
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Josquin
Desprez et ses contemporains : de l'écrit au sonore, guide pratique d'interprétation
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Josquin
Desprez et ses contemporains : de l'écrit au sonore, guide pratique d'interprétation
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libretto for prestigious ensembles specialized in the interpretation of these music, such as
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La chanson polyphonique franco-flamande autour de 1530-1550 comme lecture du texte poétique
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Guillaume Boni (c.1530-c.1594) - Motets 1573 - Ensemble Jacques Moderne
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La Chanson polyphonique française du XVIe siècle : Guide Pratique
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between 1987 and 1989 and organized various symposiums, notably on
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in 1970, under Jean-Michel Vaccaro, professor-researcher at the
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Le concert des voix et des instruments de la Renaissance
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of Tours. In 1979, he defended a doctoral thesis on
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41:François Rabelais University
103:of early music the name of
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52:Centre de musique ancienne
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171:that advocates that the
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27:) – 13 November 1992 in
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43:and choral conductor.
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184:Selected bibliography
19:(16 February 1948 in
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275:Missa Malheur me bat
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132:Musiciens de Ronsard
370:Jean-Pierre Ouvrard
295:Jean-Michel Vaccaro
263:, Musica Nova, 1992
253:, Musica Nova, 1991
243:, Musica Nova, 1990
173:Centre-Val de Loire
153:Philippe Herreweghe
124:University of Tours
71:University of Tours
17:Jean-Pierre Ouvrard
318:Programme Ricercar
237:Francisco Guerrero
149:la Chapelle Royale
54:in Tours in 1991.
231:Le Livre de Poche
169:Renaissance music
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335:Le Monde.fr
216:Discography
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21:Trémentines
420:Categories
378:on YouTube
350:on WorlCat
282:References
203:2868690882
120:musicology
195:Actes Sud
58:Biography
372:on IdRef
113:sackbuts
101:ensemble
384:Portals
410:France
261:Motets
233:, 1989
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130:, the
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64:Anjou
29:Tours
199:ISBN
320:on
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