Thursday 3 July 2014

Time Foyer Room 1 Room 2 Room 3 Room 4 Room 5 10:00-12:45 Registration 12:45-13:00 Welcome address 13:00-15:00 The lost art of Sources I England/Theory and Josquin, Brumel and Iberian I Ornamentation (half session) Compere

Catherine Motuz: In Robert Klugseder John Milsom: Flats, Jennifer Thomas: The Javier Marín-López: Defense of the Virtuoso (Austrian Academy of sharps, appendancy: the Problem with Perfection: Music Books for an Science, Vienna): view from Tudor Embodying and ‘iglesia principal y England Disembodying Qui calificada’: Manuscripts in the habitat The Polyphonic Austrian National Collection of Jaén Library Cathedral Reconsidered Caroline Ritchie: The Michael L. Norton: Matthew Hall: Antoine Felipe Mesquita de pieces for viola bastarda Further Thoughts on Brumel Between France Olivera: The Verso and in the Merro partbooks Graz 807 and Vienna and Ferrara: Another Fabordāo Genres in the (Gb-Ob D.245-7) 13314 Royal Context of Music Recovered Manuscript 242 from the Coimbra University Library

Josué Meléndez: Instrumental music (half Jeanette DiBernardo Santiago Galán Gómez: Cadenze per Finali David Merlin: session) Jones: “Faint Footsteps: Counterpoint in 15th “Difformis Chair: Hector Sequera Brumel’s Early Career Century Spanish theory: uniformitas”: The Bláithín Hurley: , and the French Royal new perspectives and a Melodies for the Office , a Hurdy-Gurdy and Court” new treatise. of the Diocese of a Pearl-Encrusted Passau in late Hairpiece: The Secrets of mediaeval Austria. a Sixteenth-Century Venetian Luthier’s Workshop Revealed

Ute Evers: The Quem Vilena Vrbanić: Organ Jeffrey Dean: Loÿset queritis in Venice and Organ-Playing in the Compère, the First Italian War, and Croatian Countries from humanism in fifteenth- the 14th to 16th Century century France

15:00-15:30 Break 15:30-17:00 Maria-Angeles:Ferrer- Sex and Gender Social contexts and Composing medieval Printing the learned Fores: THE OF contemporary tastes of music music book - functions THE SIBYL. 600 YEARS OF in England and markets LITURGICAL TRADITION (Lecture recital) Cathy Ann Elias: Female Eric Lubarsky: Arnold Monica Roundy: How Elisabeth Giselbrecht: Power: Pornographic Dolmetsch as to Compose in the Early printed music Stories and Music- Antimodernist: Idealizing Thirteenth Century treatises and the case of Making in Italian the Medieval Craftsman Simon de Quercu’s Renaissance Tales Opusculum musices

Sigrid Harris: “Ma de Samantha Bassler: What Catherine A. Bradley: Inga Mai Groote : l’aspido sordo”: is Ancient Music? Why Choose An Synopsis musicae: Charts Gendering the Serpent Antiquarianism, Unpopular Tenor? and tables in 16th- in the Late Italian Contrafacta, and the Combining Plainchant century music books Reception of Sixteenth- and Vernacular Song Century Music in Techniques in Nineteenth-Century Thirteenth-Century London

Laura Ventura Nieto: Jacob Sagrans: The Choir Felix Diergarten: “Vient Grantley McDonald: What a Perfect Sight of of King’s College, a point ton bordon”: A Music in Sophonias Sin: Early Sixteenth- Cambridge and the 14th-century reworking Paminger’s Reformation Century Depictions of Revival of John of a 13th-century and Organization of a Women Playing Taverner’s Dum refrain Latin School (1576) Keyboards transisset Sabbatum (i)

17:00-18:00 Keynote Wine reception and 18:00-late book presentation Friday 4 July 2014 – IN COVENTRY

Time Undercroft Room 1 Room 2 Room 3 Room 4 Room 5 8:00 Travel by coach to Coventry 10:00-12:00 Visit to the Coventry Archives (Caput fragment), various Medieval churches etc. 12:00-13:30 Lunch 13:30-15:00 Music and cultural Cyclic concepts in Music, Myth and Story New methodologies in Sources II Theory practice compositions by in Late Renaissance Old Hispanic chant Ludwig Senfl I England research

Louise McInnes: ‘But SCOTT EDWARDS: Katherine Butler: How Paul Rouse : A Eliane Fankhauser: Late Karen M. Cook: here the greatest Cycles within Cycles: Myths of Origin Shaped computer aid for medieval music Developing Mensural melody arises without The Multiplied Ideas of the Nature of researching the Old fragments in the Theory in Late any physical Gestures of Ludwig Music in Sixteenth- Hispanic chant Netherlands: a Medieval instrument, when the Senfl’s Fortuna Settings Century England repertoire codicological (re- angels minister and )examination sing to Christ’: The Carol in Sermons and Late Medieval Worship. Reinhard Strohm and SONJA TRÖSTER: Katherine Bank: A Mix Elsa De Luca: Reading Caroline Joré- Karen Desmond: The Birgit Lodes: „Musical A Fresh Look at the of Metaphors: Music non-pitch readable Garrigues: The "Messe ‘Partes prolationis’ of Life of the late Song Cycle Kein Adler Mediating Systems of neumes: the case of de Toulouse" and the Jehan des Murs in der Welt so schön Truth in Late- the Leon Antiphonary Ms.94 of the BMT: in the and a New Family Renaissance England When the codex speaks Austrian Region Member to us. (1340–1520)“ - paper

Reinhard Strohm and ANDREA HORZ: Samantha Bassler: Rebecca Maloy: Old Ralph Corrigan: In Christian Thomas Birgit Lodes: „Musical On the Unity of Ophelia's Mad Songs as Hispanic Chant: How search of Do Vala: An Leitmeir: Dominicans Life of the late Combined Pieces – Performing a Story of stable was the melodic attempt to resolve a and Polyphony: Re- Ludwig Senfl’s Ode Disability in Late tradition? known unknown. Appraisal of a Strained Middle Ages in the Compositions as a Renaissance England Relationship Austrian Region Coherent Whole (1340–1520)“ – demonstration

15:00-15:30 Break

15:30-17:00 Medieval Genres Cyclic concepts in Notions of the past in England Central European Saints' offices compositions by the c.16th Developments: Ludwig Senfl II monophonic and polyphonic repertory in Bohemian late medieval sources

Jacopo Mazzeo: BIRGIT LODES: Kai Marius Schabram: Jamie Apgar: Title: Lenka Hlávková- James Blasina: An Datable Polyphonic Senfl’s Conception of De initio et progressu Musical Tennis, Mráčková : Rethinking English Creation? The : New the -Cycle musices«. Problems Liturgical Style, and the Credo: Cantus Origins of the “Vulgate” Methodology and Quinque salutationes and Prospects of Music fractus settings in Office for St. Katherine Results for the as a Chant-Riddle Historiography before Byrd’s Great Service Bohemian Utraquist of Alexandria Understanding of the 1600 Graduals ca 1470-1550. Development of the Genre Ed Emery: The STEFAN GASCH: Michael Meyer: Music Andrew Johnstone: Hana Vlhová-Wörner: Danette Brink: The tale Musicality of Poetic Senfl’s Mass Proper history according to Some Observations Cantus fractus tropes in of a virgin martyr: the Duelling in the Cycles – Works of Art Valentin Neander 1583 on the Elizabethan the late medieval reproduction of the Thirteenth Century or Music for Every Day? Utraquist repertory legend of St. Barbara in Verse Anthem: A two proper offices from Response to Roger the diocese of Trier Bowers

Elena Abramov-van CHRISTIANE Michaela Kaufmann: Joseph Sargent: Veronika Mráčková : Kathleen Broer: William Rijk: The structure of WIESENFELDT: The Reader in the Text? “Pattern of Patience, Local Features of of York: Archbishop the musical Response and The Composer and His Gravitie, Devotion”: Polyphonic Office Confessor as a logical discussion Audience in Florentine Hymns in the Strahov demonstration Music Prints The First Service of Codex Nathaniel Giles Binchois Consort 17:00-18:00 Concert Wine reception 18:00-19:00 (restricted numbers) 19:00-21:00 Dinner 21:00 Return coaches to Birmingham Saturday 5 July 2014

Time Foyer Room 1 Room 2 Room 3 Room 4 Room 5 8:45-10:45 Poster Manuscripts Mouton the composer Habsburgs/Patronage Early C16 Applications of demonstrations, I reassessed (half Computational including multi-media Respondent: Joshua session) Symbolic Music fixed presentations Rifkin Analysis to Medieval and website and Renaissance demonstrations. These Musicology will be available in the Vincenzo Borghetti: Irene Holzer: Jean Zsuzsanna Pallos: Mary Cristina Diego Pacheco: Andrew Hankinson and foyer for the entire The Listening Gaze: Mouton and the of Hungary - The role How a Local Composer Ichiro Fujinaga: Optical conference but poster Alamire’s Presentation Making of the Imitation of music in her life and becomes Global: New music recognition for authors will be Manuscripts and the Mass her music manuscripts light on Pierrequin de navigating and available to Courtly Reader Thérache’s activity retrieving music demonstrate during manuscript images this session.

Martin Ham: Joining Wolfgang Fuhrmann: Vassiliki Koutsobina: Cristina Cassia: Hesdin Tim Crawford and the dots: manuscript Jean Mouton at the Desolated Hearts for a and Equal-Voice David Lewis: Semantic production in the Low French Court: “Mad” Queen? Some Compositions in the Linking and Integration Countries after Alamire Corporate Identity and Light on the Composer First Half of Sixteenth of Content, Knowledge Royal Representation and Recipient of Cueurs Century and Metadata for Early desolez/Plorans Music ploravit

Alex Robinson: A re- John T. Brobeck: Markus Grassl: The Cultural contexts for Frauke Jurgensen and examination of the Mouton and the French Chapel of Ferdinand I: the fifteenth-century Ian Knopke: origins of the Court Motet A Reappraisal mass (half session) Computerised style manuscript Magdalene classification of late College, Pepys 1760. Katelijne Schiltz: Renaissance polyphony Retrograde reading and Magic: Rethinking the Agnus Dei

Sabine Kurth: Look on Thomas Schmidt: Text Moritz Kelber: Silence James Cook: Thomas Richard Parncutt : The the Screen: Manuscript Setting in Jean of the trumpets - The Cesus and the English perceptual history of and printed Mouton’s Four-Voice exequies for Emperor in Rome consonance and Motets: Indifference or Charles V dissonance: Counting sources from the Method? vertical pitch-class sets Bavarian State Library in vocal polyphony online

10:45-11:15 Break 11:15-13:15 Polyphonie lacunaire Mouton the composer The fourteenth century c.15th Theory TRA.D.I.MUS workshop II Respondent: Joshua Rifkin Rory McCleery: Heather Holmquest: Linda P. Cummins: The Marina Toffetti, “Let us seek with the Structural cyclicity in Reception of “Nicolaus “Dissemination, shepherds”: trecento ballate de Capua” assimilation and Quaeramus cum adaptation of Italian pastoribus and its music in central- legacy eastern Europe in XVI and XVII centuries: the TRA.D.I.MUS. Project” Stephen Rice: David Maw: From Peter Urquhart: Four- Zofia Dobrzańska- Mouton’s Motets for to : ex-two canons, Fabiańska, “Italian Eight Voices the Mimetic Basis of dissonance, and the Music and its Reception Pure Music in early Josquin in Poland in the 16th Machaut's Songs and 17th Centuries. State of Research” Thomas G. Anna Zayaruznaya: Adam Whittaker: Some Aleksandra Patalas, MacCracken: The New Voices for Vitry initial thoughts on the “The inventory of the of Jean integration of musical Krakow bookseller Mouton examples in Johannes Mertzenich: a Tinctoris’s Expositio testimony of the manus and Liber de presence of Italian arte contrapuncti music in Poland ca. 1600”

David Fallows: Andreas Janke: Piero Fañch Thoraval: The Justyna Szombara, “The Mouton’s earliest Mazzuoli: other Brevis sacred concertos of songs Reconstructing the Grammatica: the 1499 Christoph Werner, oeuvre of a late print by Jakob Wolff Crato Bütner and trecento composer von Pforzheim Balthasar Erben: a study on the reception of Italian musica moderna in seventeenth-century Gdańsk” 13:15-14:00 Lunch

14:00-14:45 Lunchtime Concert 14:45-16:15 Organ workshop Ferrara Eastern Europe Songs

Tim Shephard: Francesco Monika Jurić Janjik: The Ellen Hünigen: Kirstin Pönnighaus: The Ariosto, the Virgin, and Work of Art in General Measured Time in L'homme armé tune Ercole I d’Este’s Chapel and Music Irene, ovvero Aquitanian Polyphony and its presentation, Choir della bellezza (Venice, of the 12th Century – a tradition and 1599) of Michele Fata Morgana generation of versions Monaldi (1540-1592), in early modern period Poet and Philosopher from Dubrovnik

Marie-Alexis Colin: Agnieszka Leszczyńska: Solomon Guhl-Miller: A Evan Angus MacCarthy: Charles Chastelain in Jacob Regnart and his Structural Connection Florentine Idol: A Soignies: New Evidence connections to Silesia Between Chant and Fifteenth-Century Song for Elements of Musical and Poland Organum Contest Life at the Collegiate Church of Saint-Vincent during the Sixteenth Century

Laurie Stras: Ferrara’s Jan Bata: Lutheran Eva M. Maschke: Christoph Riedo: Song musical legacy to Music in Late Testaments of canons Battles and Battle Mantua reconsidered Renaissance Prague and fragments of Songs manuscripts: Organum reception in Scandinavia

16:15-17:00 Business meeting 17:00-18:30 Organ workshop Medieval music in Multimodality and Medieval Music and cultural contexts social semiotics in Performance Medieval and Renaissance Music

Jason Stoessel: Music Cinzia Scafetta: The Kate Maxwell: Eerik Jõks: A and Rhetoric in Renaissance Multimodality and musicological ruse – Johannes Ciconia's late composer/entrepreneu Medieval Music in success or failure? songs r Girolamo Scotto and Sound and Manuscript the three-voice performance before madrigal and after the filter of classical Western notation. Zoltán Rihmer: The sly Paola Ronchetti: The Georgios Potamias: Cecilia Peçanha: A bishop and the kindly Madrigal in Rome in Multimodal Systematic Approach of pope: Philippe de the Sixteenth Century: Representation of a musical education in Vitry’s motet for Il Quarto Libro delle Medieval Byzantine the Middle Ages Clement VI Muse, Benigni Spirti. Text focused on the theory and practice of diminution. Sarah Nangle: Crafting Jennifer Halton: Robin Rolfhamre: Sexy Uri Smilansky: Singing Music in MS Arundel Performing Identity, Ornaments: Can We from the Source: 292 Concealing Conflict: Tell Gender through Evidence of Modal and Textual Music? Performance from the Interiorities in Matteo Machaut Manuscripts Rampollini’s ‘Lieta per honorarte’ (1539)

18:30-19:30 Keynote 19:30-20:00 Informal concert Sunday 6 July 2014

Time Foyer Room 1 Room 2 Room 3 Room 4 Room 5 8:45-10:45 Seconda prattica/late Iberian II: Lassus Printing and Notation and Editing c.16th Dissemination

P. Argondizza: "The Ascensión Mazuela- Franz Körndle: Primary Andrea Lindmayr- Henry Hope: Editing Order of Things: A Anguita: ‘Música para and secondary Lasso Brandl: Early Music the Jenaer Reappraisal of los reconciliados’: sources Printing in German Liederhandschrift Vincenzo Galilei’s Music and Inquisitorial Speaking Lands: A First Fronimo Dialogues, acts of faith in Overview 1568 and 1584” Renaissance Iberian cities

Antonio Cascelli: Santiago Ruiz Torres: Bernhold Schmid: Michael Chizzali: Italian Jan Herlinger: Dissonance as Pro victoria contra Orlando di Lassos Traces in Musical Prehistory of the metaphor in L’Ottuso’s infideles: the Marian : an Culture at Wettin coniuncta discussion about processional Música-19 Overview Courts during the seconda prattica and of the Cathedral of Sixteenth Century the audience in the Segovia (ca. 1500) emerging operatic genre

Daniel Donnelly: Ángel Manuel Olmos: Diane Temme: Illusory Magnus Williamson: Zhuqing (Lester) Hu: Petrarch on a Barge: Economic income of Compositional Print, polyphony and Bartolomeo Ramis de Parody and Civic 16th century Spanish Techniques and Levels episcopal leadership: Pareia: a Follower of Identity in the Bizzarre church musicians of Interpretation: Le Mans around 1500 Guido? rime pescatorie of revisited Lasso as Reader of the Andrea Calmo and Ulenberg Psalter Ludovico Agostini.

Marcello Mazzetti and Bernadette Nelson: Megan K. Eagen: ‘Dulcis Miriam Wendling: Livio Ticli: ‘Ideo dilexit me rex…’: meri poculum’: a "Karlsruhe cod. 504 Reconsidering Floriano Music for a Royal Different Reading of and chant culture at St. Wedding? Further Michelsberg" Canale’s works and the layers of thematic two Medieval Parodies role of Canons Regular allusions in Morales’ set by Orlando di Lasso in the late Renaissance. Missa L’homme armé a 5’

10:45-11:15 Break 11:15-13:15 Requiems C16 Germany (half c.16 Rome Georgian Medieval Editorial strategies in session) Music sixteenth-century music printing

Owen Rees: Francesco Pezzi: “[…] Noel O’Regan: Music, Tamar Chkheidze: Marianne Gillion: Recontextualizing ein guette sehr Memory and Faith in "Canonical Hours and Correcting Countless Victoria’s Requiem stattliche und herrliche late Sixteenth-Century Traditions of Service Errors: Chant revision Music, weit besser, allß Rome According to Georgian in Italian printed des khaisers Music ist”: Liturgical –Musical graduals comments about music Manuscripts" in the travel diary of Ferdinand of Bavaria Franziska Meier: Escobar Alanna Ropchock: Thomas Neal: Office Khatuna Managadze: Louisa Hunter-Bradley : vs. Févin ‒ Same Josquin, Martin Luther, polyphony in the age of "Liturgical Aspects of Plantin’s strategy for function, different and Johannes Ott: How reform: the 1644 Lent and Liturgy of the publishing polyphonic forms. the Missa Pange lingua edition of Palestrina’s Presanctified Gifts". music 1570-1595 Comparative studies on Crossed Confessional hymn cycle the early polyphonic Boundaries in "Missa pro defunctis" Reformation Germany New World (half session)

João Pedro d’Alvarenga: Lorenzo Candelaria: Esperanza Rodríguez- Eka Chabashvili: Sanna Raninen: The Patterns for Sixteenth- Juan Navarro’s Quatuor García: ‘‘Cose che non "Georgian Medieval relation between text to Early-Seventeenth- Passiones (1604): disconvenghino al Church Music’s and music in vernacular Century Portuguese Mexican Plainchant at decoro, e riputatione influence on the polyphonic books Polyphonic Settings of the Dawn of the del Collegio Contemporary during the first half of the Requiem Mass Apocalypse Germanico’: Victoria’s Georgian Composers’ the sixteenth century Liber primus qui missas, Works". psalmos, magnificat… (1576)’ Tess Knighton: Music David Andrés- Naomi Gregory: The Ekaterine Oniani: "The Tessa Murray : Peter and Piety in Sixteenth- Fernández: Chant, Curious Case of General Principles of Short: From trade Century Barcelona liturgy and heritage in Compère’s “Sola Caret Georgian Neumatic printer to music Chile: a 16th-century Monstris”: Notation" specialist manuscript the Pope, the King, and rediscovered in Valdivia the fera pessima