Elizabeth Aubrey’s Publications

BOOKS
The Music of the Troubadours. Music: Scholarship and Performance, gen. ed. Thomas Binkley.
Bloomington and Indianapolis: Indiana University Press, 1996. xxiv + 327 pp.
Paperback edition, 2000.

Guide de la musique du Moyen Âge, ed. Françoise Ferrand, avec la collaboration de Olivier Cullin et de Elizabeth Aubrey, David Fallows, Bernard Gagnepain, Catherine Homo-Lechner, Guy Lobrichon, François Reynaud, Luca Ricossa, Édith Weber, Nigel Wilkins. Paris: Librairie Arthème Fayard, 1999.

Songs of the Women Trouvères, introduced and edited by Eglal Doss-Quinby, Joan Tasker Grimbert, Wendy Pfeffer, and Elizabeth Aubrey. New Haven: Yale University Press, 2001.

ARTICLES
“Comtessa de Dia,” essay and edition for Historical Anthology of Music by Women, ed. James R. Briscoe (Bloomington and Indianapolis: Indiana University Press), 2nd edition, in press.

“Maroie de Diergnau and Dame Margot,” essay and edition for Historical Anthology of Music by Women, ed. James R. Briscoe (Bloomington and Indianapolis: Indiana University Press), 2nd edition, in press.

“Word Refrains and their Music: Considerations and Case Studies from the Troubadours,” commissioned festschrift article, in press.

“Medieval Melodies in the Hands of Bibliophiles of the Ancien Régime,” in Essays on Music and Culture in Honor of Herbert Kellman, ed. Barbara Haggh. Collection «Épitome musicale». (Paris and Tours: Minerve – Centre d’Études Supérieures de la Renaissance, 2001), pp. 17-34.

“Genre as a Determinant of Melody in the Songs of the Troubadours and the Trouvères,” in Medieval Lyric: Genres in Historical Perspective, ed. William D. Paden (Urbana and Chicago: University of Illinois Press, 2000), pp. 273-296.

“Medievalism in American Musical Life,” in Reflections on American Music: The Twentieth Century and the New Millennium, ed. James R. Heintze and Michael Saffle. The College Music Society Monographs and Bibliographies in American Music, No. 16. (Hillsdale, NY: Pendragon Press, 2000), pp. 55-63.

Chapters in A Performer’s Guide to Medieval Music, ed. Ross W. Duffin (Bloomington and Indianapolis: Indiana University Press, 2000): “Non-Liturgical Monophony: Introduction,” pp. 105-114; “Non-Liturgical Monophony: Occitan,” pp. 122-133; “Non-Liturgical Monophony: French,” pp. 134-143.

“Genre as a Determinant of Melody in the Songs of the Troubadours and the Trouvères,” in Medieval Lyric: Genres in Historical Perspective, ed. William D. Paden (Urbana and Chicago: University of Illinois Press, 2000), pp. 273-296.

“Medievalism at the End of the Second Millennium,” in Hancher Auditorium Playbill, “Sponsus: The Parable of the Wise and Foolish Virgins,” New York’s Ensemble for Early Music, Frederick Renz, Director, 30 March 1999, pp. 10-11.

“The Music of the Troubadours,” Appendix G of An Introduction to Old Occitan by William D. Paden. Introductions to Older Languages, founding editor W. P. Lehmann. New York: The Modern Language Association of America, 1998, pp. 578-581.

“La razo trouvée, écrite, chantée, et enseignée chez les troubadours,” in Toulouse à la croisée des cultures: Actes du Ve Congrès international de l’Association Internationale d’Études Occitanes, Toulouse 19-25 août 1996, ed. Jacques Gourc and François Pic (Pau: Association Internationale d’Études Occitanes, 1998), vol. 1, pp. 297-306.

“The Dialectic Between Occitania and France in the Thirteenth Century,” Early Music History 16 (1997), pp. 1-53.

“Literacy, Orality, and the Preservation of French and Occitan Medieval Courtly Songs,” in Actas del XV Congreso de la Sociedad Internacional de Musicología, “Culturas musicales mediterráneo y sus ramificaciones,” Madrid/3-10/IV/1992, ed. Sociedad Española de Musicología, Revista de Musicología, vol. 16/4 (1993 [1996]), pp. 2355-2366.

“Issues in the Musical Analysis of the Troubadour Descorts and Lays,” in The Cultural Milieu of the Troubadours and Trouvères, ed. Nancy Van Deusen, Musicological Studies, 62/1 (Ottawa, Canada: The Institute of Medieval Music, 1994), pp. 76-98.

“Troubadour Research and Performing Practice Today,” in Atti del XIV Congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale, Bologna, 27 agosto - 1 settembre 1987, ed. Angelo Pompilio, Donatella Restani, Lorenzo Bianconi, and F. Alberto Gallo (Turin: EDT, 1990), vol. II: Study Sessions, pp. 19-27.

“References to Music in Old Occitan Literature,” Acta Musicologica 61 (1989), pp. 110-149

“The Transmission of Troubadour Melodies: The Testimony of Paris, Bibliothèque nationale, f. fr. 22543,” Text 3 (1987), pp. 211-250.

“Forme et formule dans les mélodies des troubadours,” in Actes du premier congrès international de l’Association Internationale d’Études Occitanes, ed. Peter T. Ricketts, Association Internationale d’Études Occitanes, 2 (London: Westfield College, University of London, 1987), pp. 69-83.

“Eleanor of Aquitaine: An Incomparable Woman,” in Washington Early Music Society Newsletter, Fall, 1980, pp. 2-3.
“A Selective Bibliography of the Published Writings of Irving Lowens,” prepared by Elizabeth Aubrey and Margery Morgan Lowens, in Irving Lowens, Music in America and American Music (New York: Institute for Studies in American Music, no.8, 1978), pp. 19-61.

ENCYCLOPEDIA AND DICTIONARY ENTRIES

Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik begründet von Friedrich Blume, zweite, neubearbeitete Ausgabe, ed. Ludwig Finscher (Kassel: Bärenreiter-Verlag, 1994- ):

The New Grove Dictionary of Music and Musicians, 2nd edition, ed. Stanley Sadie and John Tyrrell, 29 vols. (London: Macmillan, 2001):

The New Harvard Dictionary of Music, ed. Don Michael Randel (Cambridge, MA and London: Harvard University Press), forthcoming 2003:

REVIEWS

L’Oeuvre lyrique de Blondel de Nesle: Mélodies, ed. Avner Bahat and Gérard Le Vot (Paris: Honoré Champion, 1996), in Medium Aevum (published by the Society for the Study of Medieval Languages and Literature) 68/1 (1999), pp. 138-139
Songs of the Troubadours and Trouvères: An Anthology of Poems and Melodies, by Samuel N. Rosenberg, Margaret Switten, and Gérard Le Vot (New York: Garland Publishing, Inc., 1997), for The Medieval Review, July 12, 1998

Music and Poetry in the Middle Ages: A Guide to Research on French and Occitan Song, 1100-1400, by Margaret Louise Switten (New York: Garland Publishing, 1995), in Music Library Association Notes 53/3 (March 1997), pp. 784-785

The Harp in the Middle Ages: The Symbolism of a Musical Instrument, by Martin van Schaik (Amsterdam and Atlanta: Rodopi, 1992), in Speculum: A Journal of Medieval Studies 69 (1994), pp. 1287-1289

The Monophonic Songs in the “Roman de Fauvel,” ed. Samuel N. Rosenberg and Hans Tischler (Lincoln: University of Nebraska Press, 1991), in Encomia: Bibliographic Bulletin of the International Courtly Literature Society 15 (1993), pp. 7-10

“Finding Music to Fit the Words,” review of Lo Gai Saber; Troubadours et Jongleurs 1100-1300, compact disc recorded by the Camerata Mediterranea, directed by Joel Cohen, Erato Disques, in Historical Performance IV/2 (1991), pp. 105-106; counter-response to Joel Cohen’s response, Historical Performance V/1 (1992), pp. 30-32

The Music of Early Minnesang, by James V. McMahon, Studies in German Literature, Linguistics, and Culture, 41 (Columbia, SC: Camden House, 1990), in The Journal of Musicological Research, 11 (1991), pp. 303-306

The Extant Troubadour Melodies, by Hendrik Van der Werf (Rochester: Published by the author, 1985), in The Journal of Musicology 4 (1986), pp. 227-234

Elizabeth Aubrey’s Public Presentations

GUEST LECTURES AND DEMONSTRATIONS

“Scribes and Singers, Signs and Sounds,” Endowed Chair in Music, The University of Alabama, January 2003

“Scribes and Singers, Signs and Sounds,” Thirty-seventh International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, May 2002

“Scribes and Singers, Signs and Sounds,” International Medieval Congress, University of Leeds, July 2000

“The Voices of Machaut’s Lais: The Singer’s Voice,’” lecture-demonstration, at the Thirty-fifth International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, May 2000

“Medieval Melodies in the Hands of Bibliophiles of the Ancien Régime,” Curtis Mayes Orpheus Endowed Chair in Musicology, Florida State University, February 2000

“Dante on Music Revisited,” Curtis Mayes Orpheus Endowed Chair in Musicology, Florida State University, February 2000

Performance of music of Hildegard von Bingen for a session entitled “Hildegard of Bingen: The Monastic Context,” in conjunction with papers by John Van Engen of Notre Dame University, Margot Fassler of Yale University, and Joan Ferrante of Columbia University at the Medieval Academy of America annual meeting, Stanford University, March 1998

“Whose Song Is It, Anyway?” University of Illinois, Champaign-Urbana, November 1997

“The Medieval Motet in Occitania and the ‘Occitanian’ Motet,” Sixteenth Congress of the International Musicological Society, London, England, August 1997

Performance of music of Hildegard von Bingen for a paper by Margot Fassler of Yale University, “Hildegard’s Jesse Tree and Monastic Education: Sonic Icons and Songs of Struggle,” at the Sixteenth Congress of the International Musicological Society, London, England, August 1997

Performance of Machaut’s motet “Fons totius superbie/O livoris feritas/Fera pessima,”for a paper by Margaret Bent of Oxford University, “Words and Music in Machaut’s Motet 9,” at the Medieval Academy of America, Toronto, April 1997

“Finding, Singing, and Telling the Theme of a Medieval Song,” University of Notre Dame, February 1997

“La razo trouvée, écrite, chantée, et enseignée chez les troubadours,” Fifth International Congress of the Association Internationale d’Études Occitanes, Toulouse, France, August 1996

“Occitania and France in the Thirteenth Century,” Twenty-third British Conference on Medieval and Renaissance Music, University of Southampton, England, July 1996

Panelist for “Performing the Medieval Lyric in Translation: For General Audiences or Strictly for Classroom Use?” organized by the Society of Early Music Singers, at the Thirty-first International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, May 1996

Performance of music of Guillaume de Machaut for a paper by Jehoash Hirshberg of the Hebrew University of Jerusalem, “Machaut’s lais: Issues of Performance,” for the International Machaut Society, at the Thirtieth International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, May 1995

“The Transmission of Troubadour and Trouvère Lyric,” Kentucky Foreign Language Conference, University of Kentucky, Lexington, April 1995

“Theme, Material, and Form in the Melodies of the Troubadours and the Trouvères,” Symposium on “A Question of Genre: Lyric Poetry and Song in the Middle Ages,” Northwestern University, November 1992

“Literacy, Orality, and the Preservation of French and Occitan Medieval Courtly Songs,” Twenty-seventh International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, May 1992
“Literacy, Orality, and the Preservation of French and Occitan Medieval Courtly Songs,” Fifteenth Congress of the International Musicological Society, Madrid, Spain, April 1992

“Interpreting Variants in French and Occitan Medieval Secular Monophony,” American Musicological Society, Chicago, November 1991

“Voice Production in Medieval and Renaissance Music,” Visiting Artist-in-Residence, Music Department, Colorado College, March 1991

“Issues in the Musical Analysis of the Troubadour Descorts and Lays,” for a Symposium entitled “The Cultural Milieu of the Troubadours and Trouvères” sponsored by the Center for Medieval Studies, California State University, Northridge and The Collegium for Medieval and Renaissance Studies, University of Michigan, Ann Arbor, University Club, California State University, Northridge, December 1990

Joint presentation with William Calin, Professor of French at the University of Florida, “Listening to Trouvère Song: Gace Brulé and Thibaut de Champagne,” sponsored by the International Machaut Society, at the Twenty-fifth International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, May 1990

Panelist for “Guillaume de Machaut’s Progeny: The Ars subtilior and Questions of Performance Practices,” sponsored by the International Machaut Society, at the Twenty-fourth International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, May 1989

“Genre and Accent in the Music of the Troubadours,” at the Centre for Medieval Studies and the Pontifical Institute for Mediaeval Studies, University of Toronto, November 1988

“Rhetoric of Song: los motz e.l so in Trobador Songs,” for a Symposium of the International Musicological Society hosted by the Musicological Society of Australia, on a session entitled “Analogy: Structural Relations Between Music and Text,” Melbourne, 28 August - 2 September 1988

“Paleographical Questions About the Troubadour Manuscripts,” at the Fourteenth Congress of the International Musicological Society, Bologna, Italy, August 1987

“Performance Problems in the Music of Guillaume de Machaut’s Voir Dit,” lecture-demonstration with the UI Collegium Musicum sponsored by the International Machaut Society, at the Twenty-Second International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo, May 1987

“References to Music in Old Occitan Literature,” American Musicological Society, Cleveland, November 1986
“Singing the Troubadour Songs: A Close Look at the Evidence,” at a workshop on The Medieval Lyric, Mt. Holyoke College, funded by the National Endowment for the Humanities, June 1986

“Form and Formula in the Melodies of the Troubadours,” Midwest Chapter of the American Musicological Society, Chicago, September 1984

“Forme et formule dans les mélodies des troubadours,” First International Congress of the Association Internationale d’Études Occitanes, University of Southampton, England, August 1984

“The Music of Josquin Des Pres,” concert and lecture-demonstration with the UI Collegium Musicum for The Renaissance Connection, an interdisciplinary conference funded by the National Endowment for the Humanities, Putnam Museum of Art, Davenport, IA, March 1984

“Investigating the Sources of Troubadour Music: Notation, Sources, and Paths of Transmission,” American Musicological Society, Louisville, KY, October 1983

“A Fresh Investigation of the Sources of Troubadour Music,” Capital Chapter of the American Musicological Society, Williamsburg, VA, April 1982

ENDOWED CHAIRS AND RESIDENCIES

Endowed Chair in Music, The University of Alabama, including lectures to Seminar on Performance Practices, early music performance coaching, and a public lecture, 26-31 January 2003

Curtis Mayes Orpheus Endowed Chair in Musicology, Florida State University, including Colloquium on medieval music and a public lecture, 26 February - 1 March 2000

Visiting Artist-in-Residence, Music Department, Colorado College, including coaching sessions with the Collegium Musicum, private voice instruction, and a public lecture, 27-30 March 1991

Reviews of The Music of the Troubadours

Bookman’s Weekly, December 9, 1996 (Henry Wessells)
Fanfare, Vol. 20, No. 4, March/April 1997, 423-424 (Brian Robins)
The Medieval Review, April 1, 1997 (Margaret Switten)
Choice, Vol. 34, No. 8, April 1997 (Richard Freedman)
The [London] Times Literary Supplement, No. 4926, August 29, 1997, p. 19 (Daniel Leech-Wilkinson)
Music Library Association Notes, Vol. 54, No. 2, December 1997, pp. 450-452 (Donna Mayer-Martin)
French Forum, Vol. 23 No. 1, January 1998, pp. 115-116 (William D. Paden)
Parergon: Journal of the Australian and New Zealand Association for Medieval and Early Modern Studies, New Series, Vol. 15, No. 2, January 1998, pp. 149-152 (David Cashman)
Cahiers de Civilisation Médiévale, Vol. 41 (1998), No. 164bis (supplément annuel), pp. 4*-8* (Gérard Le Vot)
Romance Philology, Vol. 5 (Fall 1002/Spring 2002), pp. 39-41 (Peter T. Ricketts)
Journal of the American Musicological Society, forthcoming, 2003 (Ardis Butterfield)

EXCERPTS:

The Times Literary Supplement: “This is the place to come to learn about the manuscripts, about the copying of text and music, about forms, rhetorical devices, compositional techniques and biographies, ... a down-to-earth treatment which should ensure that [the book] remains of value for many years to come.” (Daniel Leech-Wilkinson)

Music Library Association Notes: “The careful integration of many years of first-rate scholarly work, combined with her truly virtuosic use of primary and secondary resources throughout, make this book a monument in musicology, one no music library should be without. It should be required reading for all students of music history and the Middle Ages, and it will provide a welcome guide for the growing number of performers wishing to recreate these magical treasures from the medieval Midi.” (Donna Mayer-Martin)

Fanfare: “This is the first comprehensive survey of the troubadours and their music to have been written since the pioneering efforts of the early years of the century. It therefore marks a material addition to music bibliography, and its value to anyone with an interest in the subject is indisputable.” (Brian Robins)

French Forum: “Troubadour music has cried out to be examined in depth as a subject in itself. Elizabeth Aubrey has fulfilled this need admirably. She reviews every aspect of the subject, addressing primarily her fellow musicologists but writing with such clarity that even the profane can follow along.” (William D. Paden)

Parergon: “Aubrey’s book is, as anyone who has read her work would expect, a thoughtful, organised and, above all, coherent delineation of recent scholarly thought on troubadour music.... The style is easy to read and Aubrey avoids the use of overly specialist musicological terms.... This text is invaluable for musicologists and troubadour scholars interested in knowing about the ‘whole song,’ and it also provides an excellent introduction to troubadour music for the historian, philologist or, indeed, anyone with a passing interest. The next few years should see it become a standard text on troubadour music.” (David Cashman)

Cahiers de civilisation médiévale: “E.A. décrit avec rigueur un certain nombre des spécificités du mélos troubadouresque et, sur ce point précisément, apporte réellement du neuf.... L’index des chants de troubadours, étudiés d’une manière ou d’une autre dans l’ouvrage, dénote toute l’érudition de l’A. et sa grande familiarité avec le répertoire melodique troubadouresque. E.A. s’est livrée là, sur un répertoire difficile, à un travail considérable et méticuleux. Son approche historico-musicologique a de grands mérites en ce qu’elle propose une étude détailliée et claire, illustrée par de très abondantes références de chansons.... Le livre d’E. Aubrey est utile. Il apporte du neuf tout particulièrement en matière d’analyse mélodique et contribue, par là-même, a l’essor de la connaissance musicologique sur la chanson des troubadours.” (Gérard Le Vot)

Romance Philology: “This is a far-reaching and important work in that it will satisfy the experts and also please the generalist. It will, inevitably, arouse discussion, but of the most constructive kind. What is particularly telling in Elizabeth Aubrey’s book is the insistence on providing information based on the familiarity which she shows in the matter of literary sources and treatises. This allows her to dissert authoritatively on matters which, certainly, the philologist would not have been able to.... The way in which the evidence is set out enables the reader to discover the whole picture in the confines of the book itself: there are ample quotations given in the original and translated, the music evidence is set out. The statistics are not overpowering and the technicalities of the musical side are explained. I have to admit that, while holding to my relative ignorance in matters musical, I understood much more than I ever thought I would. So, philologists, be of good cheer: you have a work which will guide and inspire you for years to come.” (Peter T. Ricketts)

Reviews of Songs of the Women Trouvères

The Medieval Review, September 9, 2002 (Carol Symes)
The French Review, Vol. 76, No. 2 (December 2002), pp. 388-389 (Daniel E. O’Sullivan)
Encomia: Bibliographical Bulletin of the International Courtly Literature Society, Vol. XXII-XXIII (2000-2001), pp. 16-18 (Don A. Monson)

EXCERPTS:

The Medieval Review: “... a volume that combines cutting-edge editorial techniques and some of the latest scholarship on the transmission of medieval performance practice with a thoughtful consideration of the methodological and critical chaleenges that complicate the reconstruction of medieval women’s artistic endeavors.... Both implicitly and explicitly, this collection contradicts two species of argument: that medieval women never produced any songs (the contention of Pierre Bec and others) or that, if they did, none are extant (Peter Dronke). More fundamentally, it advances discussion by making these materials readily available to professional medievalists, their students, modern performers, and enthusiasts of early music. A substantial introductory essay, entitled ‘The Case for the Women Trouvères,’ is divided into sections authored by one or more of the volume’s editors.... Aubrey, who has become the acknowledged expert on medieval vernacular song, introduces the music....” (Carol Symes)

The French Review: “In their insightful introduction entitled ‘The Case for the Women Trouvères,’ the authors expose the many non sequiturs and contradictions that lurk in the work of past critics who deny the existence of women trouvères despite evidence to the contrary.... Songs of the Women Trouvères represents a breakthrough in the fields of medieval song, women’s studies, philology, historical linguistics, and French literature in general. It is a most welcome and a most needed volume for specialists, generalists, and students.” (Daniel E. O’Sullivan)

Encomia: “This attractive volume has the considerable merit of reopening the debate about women trouvères in a timely, provocative, and stiumulating manner.... Careful, competent editions and translations are provided for a large number of intrinsicly interesting texts, and the collaboration of a distinguished musicologist draws attention to the musical dimension of the poetry which is too often neglected. For all these reasons the book represents a valuable and welcome contribution.” (Don A. Monson)

Elizabeth Aubrey’s Work in Progress

The Old French Ballette: Oxford, Bodleian Library, MS Douce 308, edited, translated and introduced by Eglal Doss-Quinby and Samuel N. Rosenberg, with the collaboration of Elizabeth Aubrey.

The Music of Old French Song: A study of the monophonic and polyphonic lyric songs of the trouvères; exploration of the issues surrounding the division of the repertoire into aristocratic and popular styles; discussion of the manuscripts; analysis of forms and style; examination of performance practices.

“Forward to the Past: Evolving Views of the Music of Medieval Song,” commissioned festschrift article: Survey of recent approaches to the music of the songs of the troubadours and the trouvères, description of the musical context of the period, and directions that future musical studies might productively take.

“Dante on Music Revisited”: A new examination of what the early fourteenth-century poet knew about music, its notation, its forms, and its style; the vocabulary he coined for musical and poetic structure and its correspondence with actual music of his day.

Elizabeth Aubrey’s CDs

Lessons, Readings, and Songs to accompany An Introduction to Old Occitan by William D. Paden. Introductions to Older Languages, founding editor W. P. Lehmann. New York: The Modern Language Association of America, 1998. Lessons and readings delivered by William D. Paden. Songs [Bernart de Ventadorn, Marcabru, Jaufre Rudel, Bertran de Born, and Guiraut de Bornelh] performed by Elizabeth Aubrey

Comtessa de Dia, “A chanter m’er de so qu’eu no volria” and Dame Margot and Dame Maroie, “Je vous pri, dame Maroie” for compact disc to accompany Historical Anthology of Music by Women, ed. James R. Briscoe (Bloomington and Indianapolis: Indiana University Press), 2nd edition, in preparation

Songs of the Women Trouvères, in collaboration with members of Musick’s Feast, in preparation

Elizabeth Aubrey’s Recitals

1/18/03, “A Medieval Diversion,” on the series Musick’s Feast Presents, First Presbyterian Church, Iowa City (proceeds benefited hunger relief)

8/21/96, joint recital of troubadour songs with Dr. Robert Lug of Frankfurt am Main, Germany, for the Fifth International Congress of the Association Internationale d’Études Occitanes, Toulouse, France

1/5/96, “Troubadours and Trouvères in Austria,” at an international conference in honor of Austria’s millenium, “Austria, 996-1996: Music in a Changing Society,” under the patronage of the Austrian Embassy, Ottawa, Canada

5/6/95, “The lai in Machaut’s Remède de Fortune,” sponsored by the International Machaut Society, at the Thirtieth International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo

5/7/88, “Machaut’s lai de plour: A Performance and Commentary,” sponsored by the International Machaut Society, at the Twenty-Third International Congress on Medieval Studies, The Medieval Institute, Western Michigan University, Kalamazoo

11/9/88, “Songs of the Troubadours and Trouvères,” Faculty of Music, University of Toronto

3/14/86, “A Recital of Troubadour Songs,” The University of Iowa, Harper Hall

3/26/82, “A Recital of Troubadour Songs,” Bradley Hills Presbyterian Church, Bethesda, MD, supported by an Artists’ Fellowship from the Montgomery Country Arts Council

3/16/81, “The Minstrel,” Foundry Methodist Church, Washington, D.C.

Concerts of Musick’s Feast

5/3/03, “To Music and Musicians,” First Presbyterian Church, Iowa City
12/7/02, “Holiday Treats,” First Presbyterian Church, Iowa City
10/5/01, “The Bounteous Baroque,” First Presbyterian Church, Iowa City
4/20/02, “Echoes from Venice,” First Presbyterian Church, Iowa City, with guest ensembles from The City High School Vocal Department of Iowa City
3/10/02, special appearance, “A Cathedral Concert” of The City High School Vocal Music Department of Iowa City
12/1/01, “Christmas in the Olde Countrie,” First Presbyterian Church, Iowa City
9/22/01, “Voices of Women,” First Presbyterian Church, Iowa City, benefiting rescue and recovery efforts following September 11 terrorist attacks
5/18/01, “Wine, Pudding, and Song,” First Presbyterian Church, Iowa City
3/25/01, “Soul Food of the Renaissance,” First Presbyterian Church, Cedar Rapids
3/24/01, “Soul Food of the Renaissance,” First Presbyterian Church, Iowa City
11/13/00, “Adriano Banchieri’s Festino nella Sera del Giovedi Grasso avanti Cena,” Zion Lutheran Church, Iowa City
11/12/00, “Adriano Banchieri’s Festino nella Sera del Giovedi Grasso avanti Cena,” First Presbyterian Church, Iowa City
5/14/99, “Il divino Claudio: Music by Monteverdi,” First Presbyterian Church, Iowa City

Concerts of the University of Iowa Collegium Musicum

4/10/00, “A Musical Bestiary,” Clapp Recital Hall, UI
12/4/99, “Fins des siècles,” Clapp Recital Hall, UI
4/17/99, Heinrich Schütz, “Historia der Auferstehung Jesu Christi,” First Presbyterian Church, Iowa City
12/5/98, “Christmastide in Town and Abbey,” First Presbyterian Church, Iowa City
4/15/98, “Mary’s Music,” Clapp Recital Hall, UI
12/5/97, “Music of Early Modern Germany,” Clapp Recital Hall, UI
4/24/97, “The First Information Explosion: Printed Music in the Renaissance,” Clapp Recital Hall, UI
11/24/96, “Musica feminarum: Early Music of Women,” Music at Trinity, Trinity Episcopal Church, Iowa City
11/23/96, “Musica feminarum: Early Music of Women,” Clapp Recital Hall, UI
12/4/92, “Music of the Old World: Renaissance Spain,” Clapp Recital Hall, UI
5/1/92, “The Medieval Motet,” Clapp Recital Hall, UI
4/18/92, “Music of the English Renaissance,” Krapf Organ Studio, UI
11/16/91, “The Many Moods of the Chanson,” Clapp Recital Hall, UI
4/27/91, “Vocal and Instrumental Music of the High Renaissance,” Harper Hall, UI
2/8/91, “Italian Secular Music of the Fourteenth and Sixteenth Centuries,” Clapp Recital Hall, UI
4/6/90, “L’homme armé,” Clapp Recital Hall, UI
3/15/88, “Le noble rhétorique: Music of Guillaume de Machaut,” Harper Hall, UI
5/8/87, “Music of Guillaume de Machaut,” Twenty-second International Congress on Medieval Studies, Western Michigan University, Kalamazoo, MI
4/12/86, “Music of Medieval England,” Harper Hall, UI
12/13-15/85, Madrigal Dinners, Iowa Memorial Union, UI
4/20/85, “Music of Heinrich Schütz,” Clapp Recital Hall, UI
12/1/84, “The Renaissance Virtuoso,” Friends of Art Patrons’ Preview, Davenport Art Gallery, Davenport, IA
11/3/84, “The Renaissance Virtuoso,” Clapp Recital Hall, UI
4/28/84, “The Age of Eleanor of Aquitaine,” Clapp Recital Hall, UI; later broadcast on UI cable TV channel 28
3/30/84, “Music of Josquin Des Pres,” for The Renaissance Connection, funded by the National Endowment for the Humanities, Putnam Museum of Art, Davenport, IA
3/10/84, “Music of Josquin Des Pres,” Clapp Recital Hall, UI
11/19/83, Heinrich Schütz, “Historia der Geburt Jesu Christi,” Clapp Recital Hall, UI
10/15/83, “Ars Nova: Fourteenth-Century Music of France and Italy,” Clapp Recital Hall, UI
5/6/83, “Catholicus et Anglicus: Renaissance Music of Spain and England,” Iowa Acoustics Colloquium, Harper Hall, UI
4/24/83, “Catholicus et Anglicus: Renaissance Music of Spain and England,” Clapp Recital Hall, UI
2/11/83, “Peasants and Princes: German Music in the Time of the Holy Roman Emperors,” Clarke College, Dubuque, IA
11/21/82, “Peasants and Princes: German Music in the Time of the Holy Roman Emperors,” Clapp Recital Hall, UI
11/6/82, “Peasants and Princes: German Music in the Time of the Holy Roman Emperors,”Spotlight ‘83, Webster City, IA
9/5/82, “Music of the German Renaissance,” Music in the Museum, Museum of Art, UI

Concerts of A Newe Jewell

6/8-14/81, Workshop in Early Music, in residence, Georgetown University, Washington, D.C.
6/12/81, “A Survey of French Music of the Middle Ages and Renaissance,” Copley Formal Lounge, Georgetown University, Washington, D.C.
5/16/81, “Dante and Machaut: In the Footsteps of the Troubadours,” Copley Formal Lounge, Georgetown University, Washington, D.C.
3/14/81, “The Renaissance in Italy and England,” Copley Formal Lounge, Georgetown University, Washington, D.C.
11/21/80, “Roots of Western Music: The Fifteenth and Sixteenth Centuries,” Copley Formal Lounge, Georgetown University, Washington, D.C.
10/11/80, lecture-demonstration and workshop, Georgetown University, Washington, D.C.
10/2/80, “A Survey of Franco-Flemish Music,” New York University, New York, NY
9/27/80, “The Age of Eleanor of Aquitaine,” Copley Formal Lounge, Georgetown University, Washington, D.C.
9/17/80, lecture-demonstration, Georgetown University, Washington, D.C.
7/5/80, “A Survey of Renaissance Music from England, the Netherlands, Germany, and Spain,” The Coolfont Foundation, Berkeley Springs, WV
6/16-21/80, Workshop in Early Music, in residence, Georgetown University, Washington, D.C.
6/20/80, “A Survey of Renaissance Music from England, the Netherlands, Germany, and Spain,” Gaston Hall, Georgetown University, Washington, D.C.
5/3/80, “Folk Song and Princely Entertainment at the European Courts,” Gaston Hall, Georgetown University, Washington, D.C.
4/26/80, “A Survey of Renaissance Music from England, the Netherlands, Germany, and Spain,” International Renaissance Faire: A Festival of Nations, St. Mary-of-the-Woods College, Terre Haute, IN
4/24/80, “A Survey of Renaissance Music from England, the Netherlands, Germany, and Spain,” Slippery Rock State College, Slippery Rock, PA
3/1/80, “The Age of Eleanor of Aquitaine,” Gaston Hall, Georgetown University, Washington, D.C.
2/23/80, Children’s concert, “Classical Vibes,” University Community Concerts, Tawes Recital Hall, University of Maryland, College Park, MD
2/2/80, “Italian and Spanish Music of the Sixteenth Century,” Westmoreland Circle Concert Series, Westmoreland Congregational Church, Washington, D.C.
12/27/79, “Music of Medieval and Renaissance Spain,” The Cosmos Club, Washington, D.C.
12/7/79, Children’s concert, Sheridan School, Washington, D.C.
11/30/79, “A Concert of Medieval Music,” Western Maryland College, Westminster, MD
11/13/79, “Renaissance Music of England and Italy,” Tuesday Evening Concert Series, Cabell Hall, University of Virginia, Charlottesville, VA
11/13/79, workshops, University of Virginia, Charlottesville, VA
11/9/79, “Renaissance Music of England and Italy,” Bucks County Community College, Newtown, PA
10/13/79, workshop at Georgetown University, Washington, D.C.
10/5/79, “Cracow and Rome: Two Cultural Centers of the Renaissance,” in honor of the visit of Pope John Paul II to the United States, Caldwell Chapel, The Catholic University, Washington, D.C.
9/8/79, “Music of Medieval and Renaissance Spain,” Gaston Hall, Georgetown University, Washington, D.C.
6/1/79, “Medieval Music of the South of Europe,” Foundry Methodist Church, Washington, D.C.
5/11/79, “Music of Renaissance France and Spain,” American Recorder Society, Chevy Chase Presbyterian Church, Chevy Chase, MD
4/21/79, “Music of Medieval and Renaissance Spain,” All Souls Church, Washington, D.C.
3/6/79, “The Trecento and the Renaissance in Italy,” Sweet Briar College, Sweet Briar, VA
3/6/79, workshop, Sweet Briar College, Sweet Briar, VA
3/3/79, “The Trecento and the Renaissance in Italy,” Gaston Hall, Georgetown University, Washington, D.C.
2/23/79, “The Fifteenth and Sixteenth Centuries in France and Italy,” Capitol Hill Presbyterian Church, Washington, D.C.
1/22/79, lecture-demonstration and workshop, Gettysburg College, Gettysburg, PA
12/20/78, “Medieval and Renaissance Music of England and France,” Sulgrave Club, Washington, D.C.
12/17/78, “Medieval and Renaissance Music of England and France,” Music at St. Anne’s, St. Anne’s Church, Annapoli

Last updated 8-may-03