Medieval and Renaissance Music Conference University of Sheffield, 5–8 July 2016 Organising Committee Tim Shephard Sanna Raninen Serenella Sessini Laura Cristina Stefanescu Conference Assistants Rachel Albert Joanna Booth Max Erwin Vickie Harley Eleanor Hedger Katie Hughes Ginte Medzvieckaite Annabelle Page Andrea Puentes Blanco Manuel del Sol Laura Ventura Nieto " " 2 " Welcome! We are delighted to welcome you to the Department of Music at the University of Sheffield! The department boasts a rich tradition of research into medieval and Renaissance music: Denis Arnold and Gilbert Reaney studied here in the 1940s, and since the 1970s it has been the home of Byrd scholar Alan Brown. The city was also home to the pioneering period luthier Michael Plant, and continues to enjoy regular visits from top period performers, recently including the Dufay Collective, the Marian Consort and the Hilliard Ensemble. Currently the department hosts the Leverhulme Trust-funded project Music in the Art of Renaissance Italy, c.1420-1540, involving most of this year's conference organisers. We have aimed to maintain MedRen's laudable inclusive and sociable traditions, but at the same time have sought to integrate research, performance and conviviality more seamlessly in the conference. This year, in the place of a wine reception, we feature a creative reconstruction of a masque held in Florence in the 1530s, featuring costumes, stories, live music, and, of course, masks. Also, instead of a full-length evening concert we have a conference consort--4D/O Beta--joining us throughout to contribute to workshops and provide live musical examples for papers. The heart of the conference are the over 120 papers delivered by you, the delegates. In addition to individual papers, we have sponsored sessions from two of the biggest current UK-based music research projects, the Tudor Partbooks project based at Newcastle and Oxford, and the Music in the Art of Renaissance Italy project, headquartered here at Sheffield. We are also lucky to have keynote contributions from two outstanding figures. Linda Austern's seminal work on music and gender in Renaissance England will be familiar to all, and Emma Hornby leads what must be one of the most vigorous medieval music research clusters anywhere in the world at Bristol. Sheffield is a friendly, relaxed city with a wealth of parks and gardens, and we hope you will enjoy your time here. As the home of John Ruskin, the city holds rich and diverse museum collections, which can be seen at the Graves Gallery, Millennium Gallery and Weston Park Museum. There are also significant historical sites to search out, including the early Tudor Bishop's House, Manor Lodge, and Sheffield Cathedral's Shrewsbury Chapel, and, a few miles outside the city, Chatsworth House and Hardwick Hall. Immediately to the west of the city is the beautiful Peak District National Park, which welcomes ten million visitors a year. Perhaps most importantly, a recent report named Sheffield the 'Real Ale Capital of the World', with 57 breweries in the city region. We are hugely grateful to the University of Sheffield, the Music & Letters Trust, the Royal Musical Association and the Plainsong and Medieval Music Society for their generous support of this conference, and also to the department's Admin Office, the faculty's Finance Team, and the university's Room Booking Service for their indispensable practical assistance. In the circulation space you will find stalls from several publishers whose participation of course brings important income to the conference, and we hope you will support them by browsing their displays. We wish you an enjoyable and productive conference! The Organising Committee 3 " Keynote Lectures Tuesday 5.7. 17:45 (Lecture Theatre 4, The Diamond) Deciphering the musical language of Old Hispanic chant: adventures on musicology's periphery Dr. Emma Hornby, Bristol University Early medieval Iberia had a fully developed liturgy, whose chants (and melodies) are preserved for the entire calendar year. This material is independent of the Roman liturgy and its Gregorian chant. Despite the preservation of thousands of Old Hispanic chants, the repertoire has rarely been studied by musicologists. This is primarily because (with two dozen exceptions) the melodies are preserved only in unpitched neumes. This keynote paper introduces the little-known Old Hispanic liturgy and its potential significance for musicologists. My analyses have been undertaken in collaboration with the ERC-funded Old Hispanic Office project team at the University of Bristol, and in particular with Rebecca Maloy (University of Colorado at Boulder). We know nothing of the Old Hispanic melodies’ pitches, goal tones, reciting notes, and cadential pitches. This has major implications for the analytical questions we are able to ask, and the methodologies we can productively employ in trying to address those questions. I explore the extent to which we can approach an understanding of the Old Hispanic chants’ melodic grammar, based on the extant evidence, and consider the implications that our analytical methodologies might have for those studying Gregorian chants, where there is always the possibility of transcribing, at least tentatively, into pitched notation. Our analyses point towards a large but bounded set of melodic strategies that stretches across genres. These strategies reveal much about an intensive and unique burst of non-Roman, non-Carolingian musical creativity in or before the 9th century. Emma Hornby is a lecturer at the Bristol University, and her research is focused on medieval western liturgical chant. She is currently working on Old Hispanic chant in collaboration with Professor Rebecca Maloy (University of Colorado at Boulder). Their first joint monograph is Music and Meaning in Old Hispanic Lenten chants: Psalmi, Threni and the Easter Vigil Canticles (Boydell & Brewer, 2013). They are now working on the Old Hispanic responsory tradition. Emma also has research interests in the transmission of western liturgical chant (including aspects of orality), the relationship between Old Roman and Gregorian chant, analysis of formulaic chant, and the relationship between words and music in the Middle Ages. Emma is co-editor, with J.R.Watson, of the Canterbury Dictionary of Hymnology (online publication, 2013). Her first book, Gregorian and Old Roman Eighth-Mode Tracts, was published by Ashgate in 2002 and her second book, Medieval Liturgical Chant and Patristic Exegesis: words and music in the second-mode tracts was published by Boydell and Brewer in 2009. She is co-editor, with David Maw, of Essays on the History of English Music in Honour of John Caldwell: Sources, Style, Performance, Historiography (Boydell and Brewer, 2010). Emma has published articles in Plainsong and Medieval Music and The Journal of Musicology; her Journal of Musicology article was included in Thomas Forrest Kelly’s collection of seminal articles in the field, Oral and Written Transmission in Chant (Ashgate, 2009). Emma is director of the Bristol University music department’s Schola Cantorum,which specialises in medieval music. Emma won a prestigious Philip Leverhulme Prize in 2009, and has also been awarded grants by the AHRC/ESRC Religion and Society Programme (2009-11) and by the European Research Council (2013- 18). The ERC Starting Grant project has a separate web page: bristol.ac.uk/oho-project Sponsored by Royal Musical Association 4 Thursday 7.7. 16:30 (St George's Church) Anne Boleyn, Musician: A Romance Across Centuries and Media Prof. Linda Austern, Northwestern University This paper situates Anne Boleyn's reputed musicality within five centuries of endless fascination with the doomed second wife of Henry VIII. From less than a year after her execution through our own time, an ever-expanding array of biographical accounts, scholarly studies, and more imaginative representations of Anne in every conceivable artistic medium have presented her as a singer, instrumentalist, composer, and/or consumer of musical performances and products. What remains to be fully acknowledged are ways in which even the most otherwise rigid academic studies from the eighteenth through twentieth centuries participate in what recent historians and cultural critics have identified as successive romanticisms of Anne, and, conversely, how often even unabashedly fictitious representations of her have successively replicated musical information first put forward the year of her death. At the center of this endless stream of contrasting depictions stand questions of Anne’s musical agency, musical training, and with whom she shared her prodigious musical abilities and exacting tastes. Linda Austern is Associate Professor of Musicology at Northwestern University. Her publications include over thirty articles and four books, the most recent of which are “’Lo Here I Burn’: Musical Figurations and Fantasies of Male Desire in Early Modern England,” in Eroticism in Early Modern Music, ed. by Bonnie Blackburn and Laurie Stras (Ashgate, 2015); and “’The Mystic Pow’r of Music’s Unison’: The Conjuncture of Word, Music, and Performance Practice in the Era of Katherine Philips,” in ‘That Noble Flame’: Essays on the Poetry of Katherine Philips, ed. by David L. Orvis and Ryan Singh Paul (Duquesne University Press, 2015). Her co-edited book Beyond Boundaries: Rethinking the Circulation of Music in Early Modern England is forthcoming from Indiana University Press this year. Sponsored by Music & Letters " " 5 Tuesday 5 July LT5