This presentation relates research projects on digital architectural (3D), musical and acoustic (4D, sound spatialization) reconstructions of sacred Renaissance buildings that have now disappeared – in this case the collegiate church of Saint-Martin in Tours (second half of the 15th century) and the Sainte-Chapelle de Dijon (first half of the 16th century). Together with the in situ reconstructions of musical performances in the following century in a courtly context (liturgical celebrations and recreational occasions), a methodological reflection is proposed on the added value that new technologies can bring not only to scientific mediation, but also to research, in this case musicological research, from both a historical and epistemological point of view.

Vasco Zara

Vasco Zara is Professeur at the Université de Rouen Normandie, researcher at the UR 3229 CÉRÉdI, and associated member of the Centre d’études supérieures de la Renaissance (Tours). A specialist in the relationship between music and architecture, he edits the critical edition of René Ouvrard 1679, Architecture harmonique, ou application de la doctrine des proportions de la musique à l’architecture (Paris: Garnier, 2017). He is the coeditor of Proportions. Sciences, musique, peinture et architecture (Turnhout: Brepols, 2011), Daniele Barbaro 1514-1570. Vénitien, patricien, humaniste (Turnhout: Brepols, 2017), Renaissance Music in the Slavic World (Turnhout: Brepols, 2019), and Le Vitruvio de Cesare Cesariano (1521) (Turnhout: Brepols, 2023). He lead several research programs on the 3D virtual reenactement and 4D sound-spatialization, including Musique et musiciens dans les Saintes-Chapelles, xiiie–xviiie siècles (2011-2013), Musi2R – Musique dans les résidences royales (2015-2018), and ReviSMartin – Renaissance virtuelle de la collégiale Saint-Martin de Tours (2015-2019).