International Congress on Medieval Studies In Kalamazoo; Schedule

29 Apr 2009

Each year in May, the Medieval Institute at Western Michigan University in Kalamazoo, MI hosts the International Congress on Medieval Studies.  This year’s conference is the 44th, and is scheduled from May 7-10, 2009.  Among the hundreds of papers to be presented are several about early music, and this year’s featured concert (May 8 at 8pm) is a program of Music from the Hapsburg Court of Renaissance Germany, presented by The Catacoustic Consort (Grand Prize Winner of the Naxos/Early Music America recording competition in 2003), directed by Annalisa Pappano.

Among the major musical sessions (and apologies if we’ve left any out):

Thursday, May 7 at 10am-Medieval Musical Identity and Community

  • The Hausfrau and the Nun: On Sacred Experiences in Late Medieval Vienna (Cynthia J. Cyrus, Vanderbilt Univ.)
  • “Of Noble Lineage:” Music and Textual Imagery in Masses for Saint Sebastian in Parisian Confraternity Manuscripts (Sarah Long, Univ. of Illinois, Urbana/Champaign)
  • Auctoritas: The Question of Authorship (Barbara R. Walters, Kingsborough Community College, CUNY)

Thursday, May 7 at 1:30pm-Motets
  • On Political Meaning of the Fauvel Motets (Rainer Bayreuther, Univ. Freiburg)
  • Female Voice in the Thirteenth-Century Vernacular Motet (Anna Grau, Univ. of Pennsylvania)
  • Creating a Monster: “In virtute/Decens/Clamor meus” and Its Implications (Anna Zayaruznaya, Harvard Univ.)

Thursday, May 7 at 3:30pm-Music and the “-isms”: Medievalism, Nationalism, Catholicism
  • Hearing the Medieval in The Lion in Winter: Themes and Themae in John Barry’s Score (Lyndsey Woods, Florida State Univ.)
  • Regionalism and Nationalism as Constructs for Interpreting Medieval Music (Bryan Gillingham, Carleton Univ.)
  • Musicology as Catholicism and Nationalism in Fin-de-siecle France: Revisiting Pierre Aubry and the Modal Theory (Peter Mondelli, Univ. of Pennsylvania)

Thursday, May 7 at 7:30pm-The Medieval Fiddle
  • The Theorists and the Fiddle: Contradictory Evidence (Timothy J. McGee, Trent Univ.)
  • Singing Dante to Test a Fiddle (Randall Rosenfeld, Univ. of Toronto)
  • Fiddling with Middle English Romance: Tuning, Timbre, and Rhythm (Linda Marie Zaerr, Boise State Univ.)
  • Demonstration and Discussion: Hallie Fishel, Musicians in Ordinary

Friday, May 8 at 10am-Musical Mouvance

  • Mouvance, Variance, and Antiphons in Medieval Pontificals (James Borders, Univ. of Michigan)
  • Some Cases of “Mouvance” in the Thirteenth-Century Refrains Repertoire (Anne Ibos-Auge, Independent Scholar)
  • Mouving Melodies and Moving Publics: Contrafacture in Thirteenth-Century Trouvere Song (Daniel E. O’Sullivan, Univ. of Mississippi)

Friday, May 8 at 10am-Hildegard von Bingen: Bridges to Infinity
  • Where is the Fundamental Structure? Attempting a Reductive Analysis of Hildegard’s O suavissima virga (Xavier Hascher, Univ. of Strasbourg)
  • Encounter with the Unconscious: Hildegard von Bingen in Jung  (Avis Clendenen, St. Xavier Univ.)
  • Verbal Dynamics and Rhythmic Segmentation in Hildegard von Bingen’s Sequence O ecclesia (Marie Formarier, Univ. Lyon)
  • Yaqub Al-Kindi of the Arab Golden Age and Hildegard von Bingen (Mohammed Fairouz, New England Conservatory of Music)

Friday, May 8 at 1:30pm-Images and Models in Medieval Music
  • Text and Image: Ciconia’s Per Quella Strada and Altichiero’s Triumph of Fame (Sarah Carleton Latta, Univ. of Toronto)
  • Gautier de Coinci’s Chansons for Sainte-Leocadia: Sources and Style (Donna Mayer-Martin, Southern Methodist Univ.)
  • “Canticum Sacrum,” 2005-2008: Neomedieval Motets in the Context of Medieval Motets (Oleh Harkavyy, National Union of Composers of Ukraine)

Friday, May 8 at 3:30pm-Theory and Theorists of Medieval Music
  • “As the Philosopher Says…”: Citations of Aristotle in Medieval Music Theory Treatises (Joseph Dyer, Independent Scholar)
  • Proscodimo’s Expositiones on the Libellus cantus mensurabilis (Jan Herlinger, Louisiana State Univ.)
  • Alternate Chains of Thirds in Gregorian Melodies (William Peter Mahrt, Stanford Univ.)

Saturday, May 9 at 10am-Liturgy and Music

  • Sacrificial Sequences: Conflating the Eucharist and Martyrdom in Late Medieval Liege (Catherine Saucier, Arizona State Univ.)
  • Masses with Multiple Composers: A New Hypothesis, or, Who Composed the Credo of Caron’s Missa Clemens et benigna (Murray Steib, Ball State Univ.)
  • Invention and Discontinuance among Antiphons for the Adoration (Clyde W. Brockett, Jr., Christopher Newport Univ.)

Saturday, May 9 at 10am-Marie de France I: Performing Chaitivel
  • Chaitivel: A Reconstruction of the Performance of a Twelfth-Century Lai (Ronald Cook, Independent Scholar)
  • Chaitivel: The Harley MS Version with Medieval Harp (Simonetta Cochis, Transylvania Univ.)
  • Shared Griefs and Wretchedness: Another Rhymed Version of Chaitivel (Walter A. Blue, Hamline Univ.)

Saturday, May 9 at 10am-Machaut and His Influences

  • Pictorial Morphing: Ovid in Illuminated Machaut Manuscripts (Domenic Leo, Youngstown State Univ.)
  • Machaut and Boethius: A Reconsideration of the Prologue and the Remede de fortune (Eliza Zingesser, Princeton Univ.)
  • Machaut and the Narcissus Exemplum in Text and Music (Benjamin Albritton, Univ. of Washington)

Saturday, May 9 at 1:30pm-Lyric and Song in Machaut
  • Citation, Generic Transformation, and “Puis qu’il vous plaist”: Machaut at the Crossroads of Lyrics and Song (Jennifer Saltzstein, Univ. of Oklahoma)
  • Machaut’s Prosthetic Insertions: Between Remediation and Remedy (Julie Singer, Washington Univ., St. Louis)
  • Reading the Loange des dames: Self-Citation and Machaut’s Lyric Process (Yolanda Plumley, Centre for Medieval Studies, Univ. of Exeter)

Saturday, May 9 at 3:30pm-Recordings and Performance of Machaut’s Music
  • A Historiographical Analysis of Recordings of Machaut’s Messe de nostre dame (Kristen Yri, Wilfrid Laurier Univ.)
  • Machaut’s Secular Songs (Lawrence M. Earp, Univ. of Wisconsin/Madison)
  • Recording Machaut’s Motets (Jared C. Hartt, Oberlin College Conservatory)

Sunday, May 10 at 8:30am-Medieval Music Manuscripts
  • Berlin 1010: A new Source for Medieval Music Theory (Linda Page Cummins, Univ. of Alabama)
  • An Overlooked Italian Source of Gregorian Chant from ca. 850 (Daniel J. DiCenso, College of the Holy Cross)
  • Mouvance in Fifteenth-Century German Penumbral Pastourelles (Adam Knight Gilbert, Univ. of Southern California)

Sunday, May 10 at 10:30am-Musical Instruments: Craft and Notation
  • Re-examining the Medieval Viol: An Alternative Theory (Josephine Yannacopoulou, Univ. of Edinburgh)
  • The Craft of the Medieval Instrument Maker (Kate McWilliams, Independent Scholar)
  • From Robertsbridge to Klagenfurt: Organ Motets in Old and New German Tablature, 1360-1540 (Sarah Davies, New York Univ.)

Sunday, May 10 at 10:30am-Walther von der Vogelweide: Text and Music

  • Manuscript Evidence of Walther von der Vogelweide and His Contemporaries at the Hill Museum & Manuscript Library (Matthew Z. Heintzelman, Hill Museum & Manuscript Library)
  • Teaching Walther in Museums (with Musical Examples of Walther’s Songs) (Siegrid Schmidt, Univ. Salzburg)

 

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