“De modo bene cantandi” – 13/15 marzo 2020

“De modo bene cantandi”

Corso di canto medievale

docente: Patrizia Bovi

dal 13 al 15 marzo 2020.


Venerdì 13: 16,00- 20,00
Sabato 14: 10,00-13,00 15,00-18,00
Domenica 15: 11,00-13,00 15,00-18,00

Medieval Singing Course

with Patrizia Bovi

from the 13th to the 15th of March 2020

Friday 13th: 4 pm-8pm
Saturday 14th: 10am-1pm 3pm-6pm
Sunday 15th: 11am-1pm 3pm-6pm 

Patrizia Bovi

Durante il corso si tratteranno  le questioni legate all’estetica del canto medievale analizzando e seguendo le indicazioni di un trattato del XV sec. di Conrad Von Zabern sul modo di ben cantare.

Saranno inviati brani per applicare i principi tecnici descritti nel trattato, le lezioni saranno sia individuali che di gruppo e si potrà anche approfondire repertorio scelto da ogni partecipante.

Le iscrizioni scadono il 15 febbraio 2020.

Il costo di iscrizione al corso è di 150€


sms: 3488722313



11th “MICRO” International Course of Medieval Music: 30 July-1 August 2020. Online 27-29 July

Despite the exceptional situation created by the COVID-19 virus, Ensemble Micrologus will present its Summer Course 2020 of Medieval Music in an appropriate form according to national regulations.

The course will have a hybrid form: three days of ONLINE classes and conferences on the Centro Studi platform from the 27th to the 29th of July, and three days of “in presence” classes at the Centro Studi‘s venue in Spello, from 27 July to 1 August 2020.

For  safety reasons, the “in presence” lessons will be individual and will focus on the study of instruments and on singing, reducing collective activities to small ensembles that can interact in open spaces while maintaining the distances between the musicians indicated by the regulations.


(morning and afternoon: 30 July-1 August)

SINGING – Patrizia Bovi 

LUTE AND PLUCKED INSTRUMENTS (Europe and Middle East)– Peppe Frana

WIND INSTRUMENTS (pipe and tabor, recorder, flute, double flute and bagpipe) – Goffredo Degli Esposti

HURDY-GURDY (historical and traditional) AND SYMPHONIA – Giordano Ceccotti

BOWED INSTRUMENTS (fiddle, rebec  and lira da braccio) – Gabriele Russo


Workshops for small groups 

(afternoon: 30 July- 1 August)


(30, 31 July, 1 august 2020 h 6,30 /7,30 pm)

Conferences and Theoretical lessons ONLINE

(afternoon: 27-29 July)

The online classes and conferences will take place with scholars and musicologists who will address the different aspects of music from the pre-Renaissance period.

All the online conferences will be held in English, and during the afternoon from 4:30 pm to 9.00 pm Italian time.

July 27th 2020

Access to the Classroom 4.15

4.30 pm – 6.00 pm Italian time

From sign to sound. Notational strategies in the fourteenth century Michele Epifani

The lecture aims to offer some insights into the relationship between sign and sound in the polyphonic repertoire of the 14th century. Specifically, the lecture will be divided into two parts. The first will provide a historical context for the main notational systems in use, notoriously related to geographical areas (France, Italy, Great Britain). The second part will deal with some case studies that show how the notation itself provides the performer with ‘extra’ information compared to the usually expressed parameters, customarily that of pitches and durations.

Access to the classroom 6.15

6.30 p.m – 7.30 p.m Italian time

Introduction to modal music 

Peppe Frana

The common feature that unites the major non-European music traditions and ancient European music up to the birth of tonality h is the presence of an articulated system of modes characterized by intricate melodic structures and refined microtonal nuances that can make the understanding of their performance quite difficult even to well-trained musicians This workshop does not pretend to provide an exhaustive overview of any of the musical systems in question (Turkish-Ottoman Makam, Arabic Maqam, Persian Dastgah, Hindustan raga, Octoechos etc.), but it rather propose to explore the common ground of these musical idioms through a series of practical exercises that will try to lead the participants to an immediate familiarity with the concept of mode.
The workshop is dedicated to all instrumentalists and singers interested in consciously and fruitfully undertaking the study of “modal music” and expanding their improvisational and compositional language.

Access to the classroom 7.45 pm

8.00 p.m. 9.00 pm Italian time

Trends, Brands and Medieval Music in 2020 1st session 

Crawford Young

It’s all about fashion, which has to do with aesthetic expression. Social conventions, including music- making, are influenced by a culture’s ideas. In 20th-c. concerts of European historical music [‘early music’], medieval music has always been trendy. It grew out of the pre-Hippie (= Beat poets /Jazz, 1950’s) and Hippie movements (= Folk/Ethnic, mid-late 1960’s). This is useful to understand as a reference point for singers, players and listeners of medieval music today who might wish

to know how we forge our own interpretations, consciously or unconsciously. While we cannot uncouple ourselves from fashions of music performance of the last fifty years, we may wish to know a bit more about where they come from, in order to compare them with a fresh look at what medieval minds can tell us.

July 28th 2020

Access to the Classroom 4.15 pm

4.30 pm – 5.30 pm Italian time

The Ordinarium missae of Pit in Context: New Light on the Source’s Compilation 

Francesco Zimei

A recent investigation has given the opportunity to shed light on the ‘strange’ presence, in the last folios of the secular MS Pn. it. 568 (Pit), of an Ordinarium missae by different composers of the Florentine ars nova and its special context. Consequently, this has made possible to clarify the stages that led to the source’s completion, as well as the name and role of its compiler.

Access to the Classroom 5.45

pm 6.00 pm – 7.30 pm Italian time

Improvisation for the scared 1st session 

Leah Stuttard

Does improvisation seem to you to be some magical, mystical capability that a blessed few initiates “just have”? My lessons will teach you that this idea isn’t true. Anyone can improvise, it just takes preparation! I know that seems counter-intuitive, but long hard years of persistence have taught me that it’s possible to learn how to and become an improviser! Take some first steps in medieval modal improvisation with me.

We will learn some short pieces of gregorian chant by ear so that you have memorised and embodied the melodies. Even our warmups will bathe your ears in and fill your bodies with the right musical sounds. Then we will improvise on a Latin text in a gregorian chant style using the mode and its particular patterns of pitches as a basis, the mode and patterns that we found in the piece we memorised and the warm ups we did. You will have some time to prepare your part of the improvisation before we share together – listening to everyone else will also embed the mode and its characteristic patterns for you.

The method of learning to improvise like this is applicable to any musical style!! You start by building your treasury of memorised snippets of sound (like words and grammar) before compiling them together in different ways (like forming sentences). I look forward to singing with you!

Access to the Classroom 7.45 pm

8.00 pm – 9.30 pm Italian time

Are we singing Medieval Music according to the treatises? 

Patrizia Bovi

An introduction to the rules of Medieval Music focusing on the singing practice.
we have information from written sources about rules for singers in medieval time, are we aware of these rules and how much we can trust them?
We’ll explore several specific examples, looking closely at the context, and look at the questions of where and for which purpose some of the treatises were written. Finally, we shall apply this information to everyday singing practice.

July 29th 2020

Access to the Classroom 4.15

4.30 pm – 6.00 pm Italian time

Which instruments, for which music? Let’s look to the Sources

 Alessandra Fiori

For those who deal with medieval music practices, it is not easy to take decisions and put it into practice, especially when it comes to evaluating the possible insertion of musical instruments and their combination.
We could have the “purists” interpretation (“If this is vocal music, then it will be performed with the voices”) or on the contrary the “proto-orchestral” aesthetic (Simone Prodenzani, in the Saporetto, mentions dozens of musical instruments, so let’s used them all!).
A literary or figurative work is a source to be questioned with extreme caution: a symbolic and aesthetic level must always be added to the plausible.
The examination of some Bolognese documentary sources of the late thirtheen / early fourteenth century gave me the opportunity to go “beyond fiction”, drawing on documents of lived musical life, of which I will tell you about…

Access to the Classroom 6.15

6.30 p.m – 8.00 p.m

Improvisation for the scared 2nd session 

Leah Stuttard

Access to the Classroom 8.15

8.30 p.m – 9.30 p.m

Trends, Brands and Medieval Music in 2020 2nd session 

Crawford Young



30, 31 July, 1 august 2020 h 6,30 /7,30 pm

The Feldenkrais Method®  offers a unique and practical way to realize our potential more fully. It is an educational method focusing on learning and movement, which can bring about improved movement and enhanced functioning. It is named after its originator, Moshe Feldenkrais (1904-1984), an engineer and physicist as well as a Judo teacher.

Lessons take place lying on the floor, or sometimes sitting. The teacher talks you through a sequence of movements that works like a physical riddle. Each new movement is repeated and explored, enabling you to become familiar with it, and to begin to play with unaccustomed movement relationships. You learn to use this awareness to release chronic patterns of tension and create new movement possibilities. 

The lessons are guided by Stefania Romagnoli Teacher Feldenkrais® Method Practitioner since 2002, certified by the International Feldenkrais Federation, member of A.I.I.M.F. Associazione Italiana Insegnanti Metodo Feldenkrais. Visual educator of Bates Method, graduated from the Bates School Milan, teacher recognized by A.I.E.V. Associazione Italiana Educatori Visivi.

It is necessary to bring your own carpet to work on the ground and socks to be without shoes.


In-presence lessons as physical participant (30. July – 01. August): €. 150

Online conferences (27. – 29. July): €. 40

Students registered for in-presence lessons [as physical participant] will have a discount for the online conferences (27. – 29. July): €. 15


2° Course frequency: €. 90

ORDINARY COURSES registration deadline will be July 10th

(after this date the registration to the course will be possible on the teacher’s evaluation)

CONFERENCES deadline 20th of July for application

We kindly ask the students to send an advance of €. 40 by 20 July to finalize the application, with the words “iscrizione annuale al Centro Studi A. Broegg”. You can pay with PayPal:





Date and place of birth:



Postal code:




Applications to the Course:

Level: beginner advanced

Instrument played and preferred tuning:

Practical vocal or instrumental since:


Knowledge of voice / instrument (specify diploma conservatory, regular school attendance courses, private education, autodidact):

Teachers had:

Other musical knowledge:

It allows the processing of personal data in accordance with standards Decree No. 196/2003.



Please send the application form at: