Thursday 3 July 2014 Foyer= Bramall Building, Foyer ECH= Bramall Building, Elgar Concert Hall Dome= Bramall Building, Dome LG33= Bramall Building, Lower Ground 33 LT2= Law Building (R1), LT2 LT3= Law Building (R1), LT3 Time Foyer ECH Dome LG33 LT2 LT3 10:00-12:45 Registration 12:45-13:00 Welcome Address Andrew Kirkman and James Cook 13:00-15:00 The Lost Art of Sources I Manuscripts and Prints Josquin, Brumel and Iberia I Ornamentation Chair: TBC into the Later Compere Chair: TBC Chair: Paula (Half Chair: Joshua Rifkin Chateauneuf Session) Chair: Esperanza Rodriguez-Garcia Catherine Motuz: In Robert Klugseder: John Milsom: Flats, Jennifer Thomas: The Javier Marín-López: Defense of the Virtuoso Medieval Music Sharps, Appendancy: the Problem with Perfection: Music Books for an Manuscripts in the View from Tudor Embodying and ‘iglesia principal y Austrian National Library England Disembodying Qui calificada’: habitat The Polyphonic Collection of Jaén Cathedral Reconsidered Caroline Ritchie: The Michael L. Norton: Thomas Neal: Office Matthew Hall: Antoine Felipe Mesquita de Pieces for Viola Bastarda Further Thoughts on in the Age of Brumel Between Oliveira: The Verso and in the Merro partbooks Graz 807 and Vienna Reform: the 1644 and Ferrara: Another Fabordāo Genres in the (Gb-Ob D.245-7) 13314 Edition of Palestrina’s Royal Composer Context of Music Hymn Cycle Recovered Manuscript 242 from the Coimbra University Library Josué Meléndez: Ute Evers: The Quem Instrumental music Jeanette DiBernardo Santiago Galán Gómez: Cadenze per Finali queritis in Venice (Half Session) Jones: Faint Footsteps: Counterpoint in 15th Chair: Hector Sequera Brumel’s Early Career Century Spanish Theory: Bláithín Hurley: , and the French Royal New Perspectives and a , a Hurdy-Gurdy and Court New Treatise. a Pearl-Encrusted Hairpiece: The Secrets of a Sixteenth-Century Venetian Luthier’s Workshop Revealed

Vilena Vrbanić: Organ Jeffrey Dean: Loÿset João Pedro d’Alvarenga: and Organ-Playing in the Compère, the First Patterns for Sixteenth- Croatian Countries from Italian War, and to Early-Seventeenth- the 14th to 16th Century Humanism in Fifteenth- Century Portuguese Century France Polyphonic Settings of the Requiem Mass 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 Chant of the Chair: Amy Brosius Contemporary Tastes of Music Music Book - Functions Sibyl. 600 Years of in England Chair: Louise McInnes and Markets Liturgical Tradition Chair: Lisa Colton Chair: Christian leitmeir (Lecture Recital) Cathy Ann Elias: Female Eric Lubarsky: Arnold Monica Roundy: How to Elisabeth Giselbrecht: Power: Pornographic Dolmetsch as 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 a Grantley McDonald: What a Perfect Sight of of King’s College, 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 refrain and Organization of a Women Playing Taverner’s Dum Latin School (1576) Keyboards transisset Sabbatum (i) Keynote: Anna Maria Busse Berger: Compositional Process: 17:00-18:00 A Reappraisal Wine reception and 18:00- book presentation

Friday 4 July 2014 – IN COVENTRY St Mary’s Guildhall

Time Undercroft Great Hall Dame Ellen Terry Room Drapers Fullers Tanners 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 Early Sixteenth-Century Cyclic Concepts in Music, Myth and Story New Methodologies in Sources II Theory Composers Reassessed Compositions by Ludwig in Late Renaissance Old Hispanic Chant Chair: Thomas Schmidt Chair: David Maw Chair: Bonnie Blackburn Senfl I England Research Chair: David Fallows Chair: Tim Shephard Chair: Emma Hornby Cristina Diego Pacheco: Scott Edwards: Katherine Butler: How Paul Rouse : A Computer Eliane Fankhauser: Late Karen M. Cook: How a Local Composer Cycles within Cycles: The Myths of Origin Shaped Aid for Researching the Medieval Music Developing Mensural Becomes Global: New Multiplied Gestures of Ideas of the Nature of Old Hispanic Chant Fragments in the Theory in Late Medieval Light on Pierrequin de Ludwig Senfl’s Fortuna Music in Sixteenth- Repertoire Netherlands: A Avignon Thérache’s Activity Settings Century England Codicological (Re-) Examination Cristina Cassia: Hesdin Sonja Tröster: Katherine Bank: A Mix of Elsa De Luca: Reading Caroline Joré-Garrigues: Karen Desmond: The and Equal-Voice A Fresh Look at the Song Metaphors: Music Non-Pitch Readable The "Messe de ‘Partes prolationis’ of Compositions in the First Cycle Kein Adler in der Mediating Systems of Neumes: The Case of the Toulouse" and the Ms.94 Jehan des Murs Half of Sixteenth Welt so schön and a New Truth in Late- Leon Antiphonary of the BMT: When the Century Family Member Renaissance England Codex Speaks To Us. Peter Argondizza: The Andrea Horz: Samantha Bassler: Rebecca Maloy: Old Ralph Corrigan: In Christian Thomas Order of Things: A On the Unity of Ophelia's Mad Songs as Hispanic Chant: How Search of Do Vala: An Leitmeir: Dominicans Reappraisal of Vincenzo Combined Pieces – Performing a Story of Stable was the Melodic Attempt to Resolve a and Polyphony: Re-

Galilei’s Fronimo Ludwig Senfl’s Ode Disability in Late Tradition? Known Unknown. Appraisal of a Strained Dialogues, 1568 and Compositions as a Renaissance England Relationship 1584 Coherent Whole 15:00-15:30 Break

15:30-17:00 Medieval Genres Cyclic Concepts in Multimodality and England Central European Saints' Offices Chair: Felix Diergarten Compositions by Ludwig Social Semiotics in Chair: Katherine Buttler Developments: Chair: James Cook Senfl II Medieval and Monophonic and Chair: David Burn Polyphonic Repertory in Chair: Bonnie Blackburn Bohemian Late Medieval Sources Chair: Ian Rumbold

Jacopo Mazzeo: Datable Birgit Lodes: Kate Maxwell: Jamie Apgar: Musical Lenka Hlávková- James Blasina: An Polyphonic Conductus: Senfl’s Conception of the Multimodality and Tennis, Liturgical Style, Mráčková : Rethinking English Creation? The New Methodology and -Cycle Quinque Medieval Music in Sound and Byrd’s Great Service the Credo: Cantus Origins of the “Vulgate” Results for the salutationes as a Chant- and Manuscript fractus Settings in Office for St. Katherine Understanding of the Riddle Bohemian Utraquist of Alexandria Development of the Graduals ca 1470-1550. Genre

Ed Emery: The Stefan Gasch: Georgios Potamias: Andrew Johnstone: Hana Vlhová-Wörner: Danette Brink: The Tale Musicality of Poetic Senfl’s Mass Proper Multimodal Some Observations on Cantus fractus Tropes in of a Virgin Martyr: The Duelling in the Cycles – Works of Art or Representation of a the Elizabethan Verse the Late Medieval Reproduction of the Thirteenth Century Music for Every Day? Medieval Byzantine Text Anthem: A Response to Utraquist Repertory Legend of St. Barbara in Roger Bowers Two Proper Offices from the Diocese of Trier Elena Abramov-van Rijk: Christiane Wiesenfeldt: Robin Rolfhamre: Sexy Joseph Sargent: “Pattern Veronika Mráčková : Kathleen Broer: William The Structure of the Response and Discussion Ornaments: Can We Tell of Patience, Gravitie, Local Features of of York: Archbishop trecento Musical ballata Gender through Devotion”: The First Polyphonic Office Hymns Confessor as a Logical Music? Service of Nathaniel in the Strahov Codex Demonstration Giles

Binchois Consort Concert: English Polyphony and the Coventry Guilds: Music Patronage and Civic 17:00-18:00 Identity, pre-1548 18:00-19:00 Wine Reception 19:00-21:00 Dinner 21:00 Return coaches to Birmingham

Saturday 5 July 2014 Foyer= Bramall Building, Foyer ECH= Bramall Building, Elgar Concert Hall Dome= Bramall Building, Dome WG12= Aston Webb, WG12 LG33= Bramall Building, Lower Ground 33 LG34= Bramall Building, Lower Ground 34 Time Foyer ECH Dome WG12 LG33 LG34 8:45-10:45 Poster Demonstrations, Manuscripts Mouton the Composer I Habsburgs/Patronage Music and Cultural Applications of Including Multi-Media Chair: TBC Chair: Chair: David Burn Practice (Half Session) Computational Symbolic Fixed Presentations and Respondent: Joshua Chair: John Harper Music Analysis to Website Rifkin Medieval and Demonstrations. These Renaissance Musicology will be available in the Chair: Karen Desmond foyer for the entire Vincenzo Borghetti: The Irene Holzer: Jean Zsuzsanna Pallos: Mary Louise McInnes: ‘But Andrew Hankinson and conference but poster Listening Gaze: Alamire’s Mouton and the Making of Hungary - The Role of here the greatest Ichiro Fujinaga: Optical authors will be available Presentation of the Imitation Mass Music in Her Life and melody arises without Music Recognition for to demonstrate during Manuscripts and the Her Music Manuscripts any physical instrument, Navigating and this session. Courtly Reader when the angels Retrieving Music minister and sing to Manuscript Images Christ’: The Carol in Sermons and Late Medieval Worship. Martin Ham: Joining the Wolfgang Fuhrmann: Vassiliki Koutsobina: Reinhard Strohm and Tim Crawford and David Dots: Manuscript Jean Mouton at the Desolated Hearts for a Birgit Lodes: ‘Musical Lewis: Semantic Linking Production in the Low French Court: Corporate “Mad” Queen? Some Life of the late Middle and Integration of Countries after Alamire Identity and Royal Light on the Composer Ages in the Austrian Content, Knowledge and Representation and Recipient of Cueurs Region (1340–1520)’ Metadata for Early desolez/Plorans ploravit Music

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: A the Fifteenth-Century Ian Knopke: Origins of the Court Motet Reappraisal Mass (Half Session) Computerised Style Manuscript Magdalene Chair: Andrew Kirkman 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 of James Cook: Thomas Richard Parncutt : The the Screen: Manuscript Setting in Jean Mouton’s the - The Cesus and the English in Perceptual History of and Printed Renaissance Four-Voice Motets: Exequies for Emperor Rome Consonance and Music Sources from the Indifference or Method? Charles V Dissonance: Counting Bavarian State Library Vertical Pitch-Class Sets Online in Vocal Polyphony 10:45-11:15 Break 11:15-13:15 Incomplete Polyphony Mouton the Composer II The Fourteenth Century Fifteenth-Century TRA.D.I.MUS Workshop Chair: Chair: Jason Stoessel Theory Chair: Marina Toffetti Respondent: Joshua Chair: TBC Rifkin Rory McCleery: Heather Holmquest: Linda P. Cummins: The Marina Toffetti: “Let us seek with the Structural Cyclicity in Reception of “Nicolaus Dissemination, shepherds”: Quaeramus trecento ballate de Capua” Assimilation and cum pastoribus and its Adaptation of Italian Legacy Music in Central-Eastern Europe in XVI and XVII Centuries: The TRA.D.I.MUS. Project Stephen Rice: David Maw: From Peter Urquhart: Four-Ex- Zofia Dobrzańska- Mouton’s Motets for Ballade to Rondeau: The Two Canons, Fabiańska: Italian Music Eight Voices Mimetic Basis of Pure Dissonance, and the and its Reception in Music in Machaut's Early Josquin Poland in the 16th and Songs 17th Centuries. State of Research Thomas G. MacCracken: Anna Zayaruznaya: New Adam Whittaker: Some Aleksandra Patalas: The The of Jean Voices for Vitry Initial Thoughts on the Inventory of the Krakow Mouton Integration of Musical Bookseller Mertzenich: A Examples in Johannes Testimony of the Tinctoris’s Expositio Presence of Italian Music manus and Liber de arte in Poland ca. 1600 contrapuncti

Andreas Janke: Piero Fañch Thoraval: The Justyna Szombara: The Mazzuoli: Other Brevis Sacred Concertos of Reconstructing the Grammatica: The 1499 Christoph Werner, Crato Print by Jakob Wolff von Bütner and Balthasar oeuvre of a Late trecento Pforzheim Erben: A Study on the Composer Reception of Italian musica moderna in Seventeenth-Century Gdańsk” 13:15-14:00 Lunch 14:00-14:45 Lunchtime Lecture- Recital: From Pietrobono to Bossinensis: Reassessing Performance Practice Through F-Pn Rés. Vmd. MS 27 Ensemble Cantastorie Hector Sequera (dir.) 14:45-16:15 Workshop - Organ and Ferrara Eastern Europe Organum Songs Voices: Issues of Chair: Noel O’Regan Chair: Barbara Eichner Chair: Anna Maria Busse Chair: David Fallows alternatim Practice Berger Binchois Consort, St Tim Shephard: Francesco Monika Jurić Janjik: The Ellen Hünigen: Kirstin Pönnighaus: The Teilo Organ, Andrew Ariosto, the Virgin, and Work of Art in General Measured Time in L'homme armé Tune and Kirkman, Magnus Ercole I d’Este’s Chapel and Music Irene, ovvero Aquitanian Polyphony of its Presentation, Williamson, John Harper Choir della bellezza (Venice, the 12th Century – a Tradition and 1599) of Michele Fata Morgana Generation of Versions Monaldi (1540-1592), in the Early Modern Poet and Philosopher Period from Dubrovnik Marie-Alexis Colin: Agnieszka Leszczyńska: Solomon Guhl-Miller: A Christoph Riedo: Song Charles Chastelain in and His Structural Connection Battles and Battle Songs Soignies: New Evidence Connections to Silesia Between Chant and for Elements of Musical and Poland Organum Life at the Collegiate Church of Saint-Vincent during the Sixteenth Century Laurie Stras: Ferrara’s Jan Bata: Lutheran Music Eva M. Maschke: Musical Legacy to in Late Renaissance Testaments of Canons Mantua Reconsidered Prague and Fragments of

Manuscripts: Organum Reception in Scandinavia 16:15-17:00 Business meeting 17:00-18:30 Workshop - Organ and Medieval Music in Notions of the Past in Medieval Music and Coices: Issues of Cultural Contexts Chair: Laurie Stras the Sixteenth Century Performance alternatim Practice Chair: Anna Chair: Samantha Bassler Chair: Lisa Colton Binchois Consort, St Zayaruznaya Teilo Organ, Andrew Jason Stoessel: Music Cinzia Scafetta: The Kai Marius Schabram: Eerik Jõks: A Kirkman, Magnus and Rhetoric in Johannes Renaissance De initio et progressu Musicological Ruse – Williamson, John Harper Ciconia's late songs Composer/Entrepreneur musices. Problems and Success or Failure? Girolamo Scotto and the Prospects of Music Gregorian Chant Three-Voice Madrigal Historiography before Performance Before and 1600 After the Filter of Classical Western Notation. Zoltán Rihmer: The Sly Paola Ronchetti: The Michael Meyer: Music Cecilia Peçanha: A Bishop and the Kindly Madrigal in Rome in the History According to Systematic Approach of Pope: Philippe de Vitry’s Sixteenth Century: Il Valentin Neander 1583 Musical Education in the Motet for Clement VI Quarto Libro delle Muse, Middle Ages Focused on Benigni Spirti. the Theory and Practice of Diminution. Sarah Nangle: Crafting Jennifer Halton: Michaela Kaufmann: Uri Smilansky: Singing Music in MS Arundel 292 Performing Identity, The Reader in the Text? from the Source: Concealing Conflict: The Composer and His Evidence of Performance Modal and Textual Audience in Florentine from the Machaut Interiorities in Matteo Music Prints Manuscripts Rampollini’s ‘Lieta per honorarte’ (1539) Keynote: Ardis Butterfield: From Shape to Sound in Medieval 18:30-19:30 Song 19:30-20:00 Informal concert

Sunday 6 July 2014 Foyer= Bramall Building, Foyer ECH= Bramall Building, Elgar Concert Hall Dome= Bramall Building, Dome LG33= Bramall Building, Lower Ground 33 LG34= Bramall Building, Lower Ground 34 222= Bramall Building, Tutorial Room 222 Time Foyer ECH Dome LG33 LG34 222 8:45-10:45 Seconda prattica/Late Iberia II: Lassus Printing and Notation and Editing Sixteenth Century Chair: Owen Rees Chair: Philip Weller Dissemination Chair: Warwick Edwards Chair: John Whenham Chair: Grantley McDonald Antonio Cascelli: Ascensión Mazuela- Franz Körndle: Primary Andrea Lindmayr-Brandl: Henry Hope: Editing the Dissonance as Metaphor Anguita: ‘Música para and Secondary Lasso Early Music Printing in Jenaer Liederhandschrift in L’Ottuso’s Discussion los reconciliados’: Music Sources German Speaking Lands: about seconda prattica and Inquisitorial Acts of A First Overview and the Audience in the Faith in Renaissance Emerging Operatic Iberian Cities Genre Daniel Donnelly: Santiago Ruiz Torres: Pro Bernhold Schmid: Michael Chizzali: Italian Jan Herlinger: Prehistory Boccaccio el magnifico: victoria contra infideles: Orlando di Lassos Traces in Musical Culture of the coniuncta Literary and Musical The Processional Marian Antiphons: An at Wettin Courts during Parody in the Bizzarre Música-19 of the Overview the Sixteenth Century rime pescatorie of Cathedral of Segovia (ca. Andrea Calmo and 1500) Ludovico Agostini Marcello Mazzetti and Ángel Manuel Olmos: Diane Temme: Illusory Magnus Williamson: Zhuqing (Lester) Hu: Livio Ticli: Reconsidering Economic Income of Compositional Print, Polyphony and Bartolomeo Ramis de Floriano Canale’s Works Sixteenth-Century Techniques and Levels of Episcopal Leadership: Le Pareia: a Follower of and the Role of Canons Spanish Church Interpretation: Mans around 1500 Guido? Regular in the Late Musicians Revisited Lasso as Reader of the Renaissance Ulenberg Psalter Bernadette Nelson: ‘Ideo Megan K. Eagen: ‘Dulcis Miriam Wendling: dilexit me rex…’: Music meri poculum’: A Karlsruhe cod. 504 and for a Royal Wedding? Different Reading of Two Chant Culture at St. Further layers of Medieval Parodies Set Michelsberg thematic allusions in by Orlando di Lasso Morales’ Missa L’homme armé a 5’ 10:45-11:15 Break 11:15-13:15 Requiems Sixteenth-Century Sixteenth-Century Rome Georgian Medieval Editorial Strategies in Chair: Fabrice Fitch Germany (Half Session) Chair: Tim Shephard Music Sixteenth-Century Chair: Tamar Chkheidze Music Printing Chair: Agnieszka Chair: Magnus Leszczyńska Williamson Owen Rees: Francesco Pezzi: “[…] ein Noel O’Regan: Music, Tamar Chkheidze: Marianne Gillion: Recontextualizing guette sehr stattliche Memory and Faith in Canonical Hours and Correcting Countless Victoria’s Requiem und herrliche Music, Late Sixteenth-Century Traditions of Service Errors: Chant Revision in weit besser, allß des Rome According to Georgian Italian Printed Graduals khaisers Music ist”: Liturgical –Musical Comments about Music Manuscripts in the Travel Diary of Ferdinand of Bavaria Franziska Meier: Escobar Alanna Ropchock: Esperanza Rodríguez- Khatuna Managadze: Louisa Hunter-Bradley : vs. Févin ‒ Same Josquin, Martin Luther, García: ‘‘Cose che non Liturgical Aspects of Lent Plantin’s Strategy for Function, Different and Johannes Ott: How disconvenghino al and Liturgy of the Publishing Polyphonic Forms. the Missa Pange lingua decoro, e riputatione del Presanctified Gifts Music 1570-1595 Comparative Studies on Crossed Confessional Collegio Germanico’: the Early Polyphonic Boundaries in Victoria’s Liber primus "Missa pro defunctis" Reformation Germany qui missas, psalmos, magnificat… (1576)’ Tess Knighton: Music New World (Half Naomi Gregory: The Eka Chabashvili: Sanna Raninen: The and Piety in Sixteenth- Session) Curious Case of Georgian Medieval Relation between Text Century Barcelona Chair: TBC Compère’s “Sola Caret Church Music’s Influence and Music in Vernacular David Andrés- Monstris”: on the Contemporary Polyphonic Books during Fernández: Chant, the Pope, the King, and Georgian Composers’ the First Half of the Liturgy and Heritage in the fera pessima Works Sixteenth Century Chile: a 16th-Century Manuscript Rediscovered in Valdivia Ekaterine Oniani: The Tessa Murray : Peter General Principles of Short: From Trade Georgian Neumatic Printer to Music Notation Specialist 13:15-14:15 Lunch