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Notes on Contributors

Alain Corbellari

is Associate Professor of Medieval French literature at the University of Lausanne, Switzerland; he also teaches at the University of Neuchâtel. His numerous publications cover topics such as medieval literature, modernity and its reception of medieval literature, and the history of medieval studies. He is the author of Joseph Bédier écrivain et philologue (Droz, 1997), La voix des clercs (Droz, 2005), Guillaume d’Orange ou la naissance du héros médiéval (Klincksieck, 2011), and Des fabliaux et des hommes (Droz, 2015). He is also the editor and translator of Henri d’Andeli’s Dits (Champion, 2003) and has edited several collections of essays. He is a member of the History of the Romance Philology Research Group, directed by Michel Zink at the Collège de France.

Mark Everist

is Professor of Music at the University of Southampton. His research focuses on the music of western Europe in the period 1150–1330, Opera in France in the nineteenth century, Mozart, reception theory, and historiography. He has published over eighty articles in peer-reviewed journals and collections of essays and is the author of Polyphonic Music in Thirteenth-Century France (Garland, 1989), French Motets in the Thirteenth Century (Cambridge University Press, 1994), Music Drama at the Paris Odéon, 1824-1828 (University of California Press, 2002), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (Ashgate, 2005), Mozart’s Ghosts: Haunting the Halls of Musical Culture (Oxford University Press, 2013), and Discovering Song: Medieval Latin Poetry and Music in the Conductus (Cambridge University Press, 2018), as well as editor of three volumes of the Magnus Liber Organi (2001–2003). He was elected a corresponding member of the American Musicological Society in 2014 and has also received the Solie (2010) and Slim (2011) awards. Everist was elected a fellow of the Academia Europaea in 2012 and was the President of the Royal Musical Association from 2011 to 2017.

Anna Kathryn Grau

PhD (2010) in History of Music, teaches at DePaul University and the University of Illinois, Chicago. Her research focuses on the music of late thirteenth-century France, especially the motet, in its literary and intellectual contexts. She has presented papers in this area at international conferences, including the Annual Meeting of the American Musicological Society, and her peer-reviewed articles on the music and culture of medieval France have appeared in the Essays on Medieval Studies and Musica Disciplina. She is currently editing a collection of essays entitled Female-Voice Song in the Middle Ages (Brill, forthcoming).

John Haines

is Professor of Music and Medieval Studies at the University of Toronto. He has published on medieval and Renaissance music and its modern reception in a variety of journals, both musicological – from Early Music History to Popular Music – and non-musicological – from Romania to Scriptorium. His recent books are Music in Films on the Middle Ages: Authenticity vs. Fantasy (Routledge, 2013), The Notory Art of Shorthand: A Curious Chapter in the History of Writing in the West (Peeters, 2014) and Chants du diable, chants du peuple: voyage en musique dans le Moyen Âge (Brepols, 2018). He is a contributor most recently to The Cambridge Companion to French Music (2015) and The Oxford Handbook of Victorian Medievalism (forthcoming).

Anne Ibos-Augé

is Doctor of Musicology. She has taught in the department of musicology at the University of Bordeaux III and recently headed the department of Musicology in the conservatoire of Perpignan where she taught music history and analysis. Author of Chanter et lire dans le récit medieval (Peter Lang, 2010), she is a researcher attached to the CESCM in Poitiers, where she pursues research on the refrains, trouvère chansonniers, and the relationships between literature and music in the thirteenth and fourteenth centuries. In collaboration with Mark Everist, she has completed the database REFRAIN – Musique, poésie, citation: le refrain au moyen âge / Music, Poetry, Citation: The Medieval Refrain. She recently contributed to the Cambridge History of Medieval Music (2018). She is currently at work on a book on the Livre d’amoretes, a French devotional text containing lyric insertions.

Daniel E. O’Sullivan

is Professor of French at the University of Mississippi. He is the author or editor of several books and articles, chiefly on medieval vernacular song, but also on the history of chess: Marian Devotion in Thirteenth-Century French Lyric (University of Toronto, 2005), Chess in the Middle Ages and Early Modern Age (De Gruyter, 2012), Shaping Courtliness in Medieval France: Essays in Honor of Matilda Tomaryn Bruckner (with Laurie Shepard, D.S. Brewer, 2013), and Founding Feminisms in Medieval Studies: Essays in Honor of E. Jane Burns (with Laine E. Doggett, D.S. Brewer, 2016). Most recently, he edited, with Christopher Callahan and Marie-Geneviève Grossel, Thibaut de Champagne. Les Chansons. Textes et mélodies (Paris: Champion, 2018).

Judith A. Peraino

is Professor of Music and the Director of the Lesbian, Gay, Bisexual, and Transgender Studies Program at Cornell University. Her peer-reviewed articles on medieval secular songs and the rock artists Blondie, David Bowie, PJ Harvey, and Mick Jagger have appeared in Journal of the American Musicological Society, Women and Music, The Musical Quarterly, Plainsong and Medieval Music, Social Text, Qui Parle, repercussions, and several collections of essays. She is the author of two books: Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig (University of California Press, 2006), and Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut (Oxford University Press, 2011), and the editor of the collection Medieval Music in Practice: Studies in Honor of Richard Crocker (American Institute of Musicology, 2013).

Isabelle Ragnard

is Maîtresse de conférences at Sorbonne University (Faculty of Arts and Humanities), where she teaches the history and analysis of medieval music. She also teaches music history and analysis at the Conservatoire national supérieur de musique et de danse de Paris. Her research and publications focus on codicology, medieval secular song, music in medieval theater, and the contemporary performance of medieval music.

Jennifer Saltzstein

is Associate Professor of Musicology at the University of Oklahoma. Her research focuses on intertextuality, particularly the medieval refrain, and on the role of clerical composers in the cultural ascendance of medieval vernacular music. She is the author of The Refrain and the Rise of the Vernacular in Medieval French Music and Poetry (D.S. Brewer, 2013) and has published peer-reviewed articles in the Journal of the Royal Musical Association, Viator, Musica Disciplina, and the Journal of the American Musicological Society. In 2018, she won the H. Colin Slim Award of the American Musicological Society. She is currently at work on a book on medieval song and the environment.

Alison Stones

is Professor Emerita of History of Art and Architecture at the University of Pittsburgh. She is a Fellow of the Society of Antiquaries of London, a Correspondant étranger honoraire of the Société nationale des antiquaires de France and a Chevalier de l’Ordre des Arts et des Lettres. Her four-volume study of Manuscripts Illuminated in France, Gothic Manuscripts 1260–1320 was published in 2013 and 2014.

Carol Symes

is Associate Professor of History, Theatre, and Medieval Studies at the University of Illinois. Her first book, A Common Stage: Theatre and Public Life in Medieval Arras (Cornell University Press, 2007), won four prizes in three different fields, including the Herbert Baxter Adams Prize of the American Historical Association and the Medieval Academy of America’s John Nicholas Brown Prize. She has published peer-reviewed articles in Speculum, the American Historical Review, French Historical Studies, and other journals, and has contributed to many edited collections. Her current project is a study of the embodied, performative, and material conditions in which medieval texts were negotiated and created. Educated at Yale and Oxford, she earned her PhD at Harvard while pursuing a career in theatre. In 2014, she became the founding executive editor of The Medieval Globe, the first academic journal devoted to a globalized study of the era.

Eliza Zingesser

is Assistant Professor in the Department of French and Romance Philology at Columbia University. A specialist of medieval French and Occitan literature, she is especially interested in issues of multilingualism, cultural and linguistic contact, and gender and sexuality. Her work has appeared in French Studies, Viator, Études Rabelaisiennes, Modern Philology, Modern Language Notes, and New Medieval Literatures, among other journals. Her first book, Stolen Song: How The Troubadours Became French, is forthcoming with Cornell University Press.