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 Requiems Iberian I England/Theory and Josquin, Brumel and The lost art of (half session) Compere Ornamentation Owen Rees: Javier Marín-López: John Milsom: Flats, Jennifer Thomas: The Catherine Motuz: In Recontextualizing Music Books for an sharps, appendancy: the Problem with Perfection: Defense of the Virtuoso Victoria’s Requiem ‘iglesia principal y view from Tudor Embodying and calificada’: England Disembodying Qui The Polyphonic habitat Collection of Jaén Cathedral Reconsidered Franziska Meier: Escobar Felipe Mesquita de Jessie Ann Owens: Matthew Hall: Antoine Caroline Ritchie: The vs. Févin ‒ Same Olivera: The Verso and ‘Key(e)’ in Morley’s Brumel Between pieces for viola bastarda function, different Fabordāo Genres in the Introduction and Ferrara: Another in the Merro partbooks forms. Context of Music Royal (Gb-Ob D.245-7) Comparative studies on Manuscript 242 from the Recovered the early polyphonic Coimbra University "Missa pro defunctis" Library João Pedro d’Alvarenga: Sergi Zauner: Instrumental music (half Jeanette DiBernardo Josué Meléndez: Patterns for Sixteenth- Challenging session) Jones: “Faint Footsteps: Cadenze per Finali to Early-Seventeenth- historiographical Bláithín Hurley: , Brumel’s Early Career Century Portuguese premises: Sixteenth- , a Hurdy-Gurdy and and the French Royal Polyphonic Settings of Century Spanish Court” the Requiem Mass fabordon formulae a Pearl-Encrusted Hairpiece: The Secrets of a Sixteenth-Century Venetian Luthier’s Workshop Revealed

Tess Knighton: Music Santiago Galán Gómez: Vilena Vrbanić: Organ Jeffrey Dean: Loÿset and Piety in Sixteenth- Counterpoint in 15th and Organ-Playing in the Compère, the First Century Barcelona Century Spanish theory: Croatian Countries from Italian War, and new perspectives and a the 14th to 16th Century new treatise. humanism in fifteenth- century France

15:00-15:30 Break 15:30-17:00 Maria-Angeles:Ferrer- Sex and Gender Social contexts and Ferrara Printing the learned Fores: THE OF contemporary tastes of music book - functions THE SIBYL. 600 YEARS OF in England and markets LITURGICAL TRADITION Cathy Ann Elias: Female Eric Lubarsky: Arnold Tim Shephard: Francesco Elisabeth Giselbrecht: (Lecture recital) Power: Pornographic Dolmetsch as Ariosto, the Virgin, and Early printed music Stories and Music- Antimodernist: Idealizing Ercole I d’Este’s Chapel treatises and the case of Making in Italian the Medieval Craftsman Choir Simon de Quercu’s Tales Opusculum musices

Sigrid Harris: “Ma de Samantha Bassler: What Marie-Alexis Colin: Inga Mai Groote : l’aspido sordo”: is Ancient Music? Francesco Ariosto, the Synopsis musicae: Charts Gendering the Serpent Antiquarianism, Virgin, and Ercole I and tables in 16th- in the Late Italian Contrafacta, and the d’Este’s Chapel Choir century music books Reception of Sixteenth- Century Music in Nineteenth-Century London Laura Ventura Nieto: Jacob Sagrans: The Choir Laurie Stras: Ferrara’s Grantley McDonald: What a Perfect Sight of of King’s College, musical legacy to Music in Sophonias Sin: Early Sixteenth- Cambridge and the Mantua reconsidered Paminger’s Reformation Century Depictions of Revival of John and Organization of a Women Playing Taverner’s Dum 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 devotional Cyclic concepts in Printing New methodologies in Sources I Theory practice compositions by Old Hispanic chant Ludwig Senfl I research Louise McInnes: ‘But SCOTT EDWARDS: Andrea Lindmayr- Paul Rouse : A Eliane Fankhauser: Late Karen M. Cook: here the greatest Cycles within Cycles: Brandl: Early Music computer aid for Developing Mensural melody arises without The Multiplied Printing in German researching the Old fragments in the Theory in Late any physical Gestures of Ludwig Speaking Lands: A First Hispanic chant Netherlands: a Medieval instrument, when the Senfl’s Fortuna Settings Overview repertoire codicological (re- angels minister and )examination sing to Christ’: The Carol in Sermons and Late Medieval Worship. Christian Thomas SONJA TRÖSTER: Michael Chizzali: Italian Elsa De Luca: Reading Caroline Joré- Karen Desmond: The Leitmeir: Dominicans A Fresh Look at the Traces in Musical non-pitch readable Garrigues: The "Messe ‘Partes prolationis’ of and : Re- Song Cycle Kein Adler Culture at Wettin neumes: the case of de Toulouse" and the Jehan des Murs Appraisal of a Strained in der Welt so schön Courts during the the Leon Antiphonary Ms.94 of the BMT: Relationship and a New Family Sixteenth Century When the codex speaks Member to us. Stephanie Azzarello: To ANDREA HORZ: Magnus Williamson: Rebecca Maloy: Old Ralph Corrigan: In Giuliano Di Bacco: be Seen AND Heard: On the Unity of Print, polyphony and Hispanic Chant: How search of Do Vala: An Beyond the TML. New How Images, Music, Combined Pieces – episcopal leadership: stable was the melodic attempt to resolve a initiatives and projects and Text in the gradual Ludwig Senfl’s Ode Le Mans around 1500 tradition? known unknown. in the history of early of Gisela von Compositions as a . Kerssenbrock gave a Coherent voice to the nuns of Whole Rulle 15:00-15:30 Break

15:30-17:00 Medieval Genres Cyclic concepts in England Central European Saints' offices compositions by Developments: Ludwig Senfl II monophonic and polyphonic repertory in Bohemian late medieval sources Jacopo Mazzeo: BIRGIT LODES: Ellen Hünigen: Jamie Apgar: Title: Lenka Hlávková- James Blasina: An Datable Polyphonic Senfl’s Conception of Measured Time in Musical Tennis, Mráčková : Rethinking English Creation? The : New the -Cycle Aquitanian Polyphony Liturgical Style, and the Credo: Cantus Origins of the “Vulgate” Methodology and Quinque salutationes of the 12th Century – a fractus settings in Office for St. Katherine Results for the as a Chant-Riddle Fata Morgana Byrd’s Great Service Bohemian Utraquist of Alexandria Understanding of the Graduals ca 1470-1550. Development of the Genre Ed Emery: The STEFAN GASCH: Solomon Guhl-Miller: A Andrew Johnstone: Hana Vlhová-Wörner: Danette Brink: The tale Musicality of Poetic Senfl’s Mass Proper Structural Connection Some Observations Cantus fractus tropes in of a virgin martyr: the Duelling in the Cycles – Works of Art Between Chant and on the Elizabethan the late medieval reproduction of the Thirteenth Century or Music for Every Day? Organum 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 Eva M. Maschke: Joseph Sargent: Veronika Mráčková : Kathleen Broer: William Rijk: The structure of WIESENFELDT: Testaments of canons “Pattern of Patience, Local Features of of York: Archbishop the musical Response and and fragments of Gravitie, Devotion”: Polyphonic Office Confessor as a logical discussion manuscripts: Organum Hymns in the Strahov demonstration reception in The First Service of Codex Scandinavia 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 Georgian Medieval Habsburgs/Patronage Early C16 c.15th Theory demonstrations, Music reassessed (half including multi-media session) fixed presentations and website Vincenzo Borghetti: Tamar Chkheidze: Zsuzsanna Pallos: Mary Cristina Diego Pacheco: Laura P. Cummins: The "Canonical Hours and How a Local Composer Reception of “Nicolaus demonstrations. These The Listening Gaze: of Hungary - The role Traditions of Service becomes Global: New de Capua” will be available in the Alamire’s Presentation of music in her life and According to Georgian light on Pierrequin de foyer for the entire Manuscripts and the her music manuscripts Courtly Reader Liturgical –Musical Thérache’s activity conference but poster Manuscripts" authors will be available to Martin Ham: Joining Khatuna Managadze: Vassiliki Koutsobina: Cristina Cassia: Hesdin Peter Urquhart: Four- demonstrate during the dots: manuscript "Liturgical Aspects of Desolated Hearts for a and Equal-Voice ex-two canons, this session. production in the Low Lent and Liturgy of the “Mad” Queen? Some Compositions in the dissonance, and the Countries after Alamire Presanctified Gifts". Light on the Composer First Half of Sixteenth early Josquin and Recipient of Cueurs Century

desolez/Plorans

ploravit

Alex Robinson: A re- Eka Chabashvili: Markus Grassl: The Cultural contexts for Adam Whittaker: Some examination of the "Georgian Medieval Chapel of Ferdinand I: the fifteenth-century initial thoughts on the origins of the Church Music’s A Reappraisal mass (half session) integration of musical manuscript Magdalene influence on the Katelijne Schiltz: examples in Johannes College, Pepys 1760. Contemporary Retrograde reading and Tinctoris’s Expositio Georgian Composers’ Magic: Rethinking the manus and Liber de Works". Agnus Dei arte contrapuncti

Sabine Kurth: Look on Ekaterine Oniani: "The Moritz Kelber: Silence James Cook: Thomas Fañch Thoraval: The the Screen: Manuscript General Principles of of the - The Cesus and the English other Brevis and printed Georgian Neumatic exequies for Emperor in Rome Grammatica: the 1499 Notation" Charles V print by Jakob Wolff

sources from the von Pforzheim

Bavarian State Library

online

10:45-11:15 Break 11:15-13:15 Polyphonie lacunaire Seconda prattica/late The fourteenth century Applications of TRA.D.I.MUS workshop c.16th Computational Symbolic Music Analysis to Medieval and Renaissance Musicology

P. Argondizza: "The Heather Holmquest: Andrew Hankinson and Marina Toffetti, Order of Things: A Structural cyclicity in Ichiro Fujinaga: Optical “Dissemination, Reappraisal of trecento ballate music recognition for assimilation and Vincenzo Galilei’s navigating and adaptation of Italian Fronimo Dialogues, retrieving music music in central- 1568 and 1584” manuscript images eastern Europe in XVI and XVII centuries: the TRA.D.I.MUS. Project” Antonio Cascelli: David Maw: From Tim Crawford and Zofia Dobrzańska- Dissonance as to : David Lewis: Semantic Fabiańska, “Italian metaphor in L’Ottuso’s the Mimetic Basis of Linking and Integration Music and its Reception discussion about Pure Music in of Content, Knowledge in Poland in the 16th seconda prattica and Machaut's Songs and Metadata for Early and 17th Centuries. the audience in the Music State of Research”

emerging operatic

genre

Daniel Donnelly: Anna Zayaruznaya: Frauke Jurgensen and Aleksandra Patalas, Petrarch on a Barge: New Voices for Vitry Ian Knopke: “The inventory of the Parody and Civic Computerised style Krakow bookseller Identity in the Bizzarre classification of late Mertzenich: a rime pescatorie of Renaissance polyphony testimony of the Andrea Calmo and presence of Italian Ludovico Agostini. music in Poland ca.

1600”

Marcello Mazzetti and Richard Parncutt : The Justyna Szombara, “The Livio Ticli: perceptual history of sacred concertos of Reconsidering Floriano consonance and Christoph Werner, Canale’s works and the dissonance: Counting Crato Bütner and role of Canons Regular vertical pitch-class sets Balthasar Erben: a in the late Renaissance. in vocal polyphony 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 Music, Myth and Story Eastern Europe Songs in Late Renaissance England

Katherine Butler: How Monika Jurić Janjik: The Cinzia Scafetta: The Kirstin Pönnighaus: The Myths of Origin Shaped Work of Art in General Renaissance L'homme armé tune Ideas of the Nature of and Music Irene, ovvero composer/entrepreneu and its presentation, Music in Sixteenth- della bellezza (Venice, r Girolamo Scotto and tradition and Century England 1599) of Michele the three-voice generation of versions Monaldi (1540-1592), madrigal in early modern period Poet and Philosopher

from Dubrovnik

Katherine Bank: A Mix Agnieszka Leszczyńska: Paola Ronchetti: The Evan Angus MacCarthy: of Metaphors: Music and his Madrigal in Rome in Florentine Idol: A Mediating Systems of connections to Silesia the Sixteenth Century: Fifteenth-Century Song Truth in Late- and Poland Il Quarto Libro delle Contest Renaissance England Muse, Benigni Spirti.

Samantha Bassler: Jan Bata: Lutheran Jennifer Halton: Christoph Riedo: Song Ophelia's Mad Songs as Music in Late Performing Identity, Battles and Battle Performing a Story of Renaissance Prague Concealing Conflict: Songs Disability in Late Modal and Textual

Renaissance England Interiorities in Matteo Rampollini’s ‘Lieta per honorarte’ (1539)

16:15-17:00 Break Business meeting 17:00-18:30 Organ workshop c.16 Rome Composing medieval Multimodality and Medieval Music and music social semiotics in Performance Medieval and Renaissance Music

Noel O’Regan: Music, Monica Roundy: How Kate Maxwell: Eerik Jõks: A Memory and Faith in to Compose in the Multimodality and musicological ruse – late Sixteenth-Century Thirteenth Century Medieval Music in success or failure? Rome Sound and Manuscript performance before and after the filter of classical Western notation. Thomas Neal: Office Catherine A. Bradley: Georgios Potamias: Cecilia Peçanha: A polyphony in the age of Why Choose An Multimodal Systematic Approach of reform: the 1644 Unpopular Tenor? Representation of a musical education in edition of Palestrina’s Combining Plainchant Medieval Byzantine the hymn cycle and Vernacular Song Text focused on the theory Techniques in Thirteenth-Century and practice of diminution. Esperanza Rodríguez- Felix Diergarten: “Vient Robin Rolfhamre: Sexy Uri Smilansky: Singing García: ‘‘Cose che non a point ton bordon”: A Ornaments: Can We from the Source: disconvenghino al 14th-century reworking Tell Gender through Evidence of decoro, e riputatione of a 13th-century Music? Performance from the del Collegio refrain Machaut Manuscripts Germanico’: Victoria’s Liber primus qui missas, psalmos, magnificat… (1576)’

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 Mouton the composer Iberian II Lassus Notions of the past in Notation and Editing I the c.16th Irene Holzer: Jean Ascensión Mazuela- Franz Körndle: Primary Kai Marius Schabram: Henry Hope: Editing Mouton and the Anguita: ‘Música para and secondary Lasso De initio et progressu the Jenaer Making of the Imitation los reconciliados’: sources musices«. Problems Liederhandschrift Mass Music and Inquisitorial and Prospects of Music acts of faith in Historiography before Renaissance Iberian 1600 cities Wolfgang Fuhrmann: Santiago Ruiz Torres: Bernhold Schmid: Michael Meyer: Music Jan Herlinger: Jean Mouton at the Pro victoria contra Orlando di Lassos history according to Prehistory of the French Court: infideles: the Marian : an Valentin Neander 1583 coniuncta Corporate Identity and processional Música-19 Overview Royal Representation of the Cathedral of Segovia (ca. 1500) John T. Brobeck: Ángel Manuel Olmos: Diane Temme: Illusory Michaela Kaufmann: Zhuqing Hu: Mouton and the French Economic income of Compositional The Reader in the Text? Bartolomeo Ramis de Court Motet 16th century Spanish Techniques and Levels The Composer and His Pareia: a Follower of church musicians of Interpretation: Audience in Florentine Guido? revisited Lasso as Reader of the Music Prints Ulenberg Psalter

Thomas Schmidt: Text Bernadette Nelson: Megan K. Eagen: ‘Dulcis Stefan Menzel: Inter- Miriam Wendling: Setting in Jean ‘Ideo dilexit me rex…’: meri poculum’: a confessionality, trans- "Karlsruhe cod. 504 Mouton’s Four-Voice Music for a Royal Different Reading of confessionality and and chant culture at St. Motets: Indifference or Wedding? Further two Medieval Parodies intra-confessional Michelsberg" Method? layers of thematic set by Orlando di Lasso diversity – beyond the allusions in Morales’ master narrative of Missa L’homme armé a confessionalisation 5’

10:45-11:15 Break

11:15-13:15 Mouton the composer C16 Germany (half Medieval music in Sources II Editorial strategies in II session) cultural contexts sixteenth-century music printing

Rory McCleery: Alanna Ropchock: Nuria Torres: Robert Klugseder Marianne Gillion: “Let us seek with the Josquin, Martin Luther, Monarchy, Cistercians, (Austrian Academy of Correcting Countless shepherds”: and Johannes Ott: How Regular Canons: Science, Vienna): Errors: Chant revision Quaeramus cum the Missa Pange lingua Musical Fragmentary Medieval Music in Italian printed pastoribus and its Crossed Confessional Sources of the Manuscripts in the graduals legacy Boundaries in Thirteenth Century in Austrian National Reformation Germany Castile Library Stephen Rice: Francesco Pezzi: “[…] Jason Stoessel: Music Michael L. Norton: Louisa Hunter-Bradley : Mouton’s Motets for ein guette sehr and Rhetoric in Further Thoughts on Plantin’s strategy for Eight Voices stattliche und herrliche Johannes Ciconia's late Graz 807 and Vienna publishing polyphonic Music, weit besser, allß songs 13314 music 1570-1595 des khaisers Music ist”: Sanna Raninen: The comments about music relation between text in the travel diary of and music in vernacular Ferdinand of Bavaria polyphonic books New World (half during the first half of session) the sixteenth century Thomas G. Lorenzo Candelaria:Zoltán Rihmer: The sly bishop David Merlin: Tessa Murray : Peter MacCracken: The Juan Navarro’s Quatuor and the kindly pope: “Difformis Short: From trade of Jean Passiones (1604): ’s uniformitas”: The printer to music Mouton Mexican Plainchant at motet for Clement VI Melodies for the Office specialist the Dawn of the of the Diocese of Apocalypse Passau in late mediaeval Austria. : David Andrés- Sarah Nangle: Crafting Ute Evers: The Quem Mouton’s earliest Fernández: Chant, Music in MS Arundel queritis in Venice songs liturgy and heritage in 292 Chile: a 16th-century manuscript rediscovered in Valdivia