Catherine A. Bradley

Professor
Image of Catherine A. Bradley
Phone +47 22854760
Room ZEB 314

Catherine A. Bradley holds a 2 million Euro Consolidator Grant from the European Research Council for her project BENEDICAMUS (Musical and Poetic Creativity for a Unique Moment in the Western Christian Liturgy c.1000-1500). She is co-editor of the Cambridge University Press journal Plainsong and Medieval Music and editor the of Royal Musical Association Monographs series. She has received the Royal Musical Association Dent Medal (2023), the Early Music Award of the American Musicological Society (for her first monograph, Polyphony in Medieval Paris: The Art of Composing with PlainchantCambridge University Press, 2018), and the Music & Letters Westrup Prize (2012).

Catherine completed her undergraduate and masters degrees at the University of Oxford and received her Ph.D. from the University of Cambridge in 2011. Following a postdoctoral position as a Research Fellow at The Queen’s College, Oxford, she was Assistant Professor at the State University of New York at Stony Brook. Catherine moved to the University of Oslo as an Associate Professor in 2018 and became a full Professor in 2020. She has held fellowships at the Norwegian Academy of Science and Letters Centre for Advanced Study (2020–2022), at the University of Chicago (Wigeland Fellow, 2020), at the Institute of Advanced Studies in Paris (EURIAS fellow 2017–18), and at St Catherine’s College Oxford (2015).

Tags: Musicology, Music History, Music Theory, Music Analysis, Medieval Studies

Selected publications

BOOKS

Authorship and Identity in Late Thirteenth-Century MotetsRoyal Musical Association Monographs 39 (Abingdon: Routledge, 2022)

Polyphony in Medieval Paris: The Art of Composing with Plainchant (Cambridge: Cambridge University Press, 2018) [American Musicological Society Early Music Award]

The Montpellier Codex: The Final Fascicle. Contents, Contexts, Chronologies, edited with Karen Desmond (Woodbridge: Boydell and Brewer, 2018)

 

JOURNAL SPECIAL ISSUE

Benedicamus Domino as Female Devotion’, Early Music 50/4 (2022: curator and editor of thematic cluster of 5 articles)

 

PEER-REVIEWED ARTICLES AND CHAPTERS

'Perspectives for Lost Polyphony and Red Notation Around 1300: Medieval Motet and Organum Fragments in Stockholm', Early Music History 41 (2023): 1-92

'EditorialBenedicamus Domino as Female Devotion’, Early Music 50/4 (2022): 417-18

'Polyphony from and for Refrains in Dance-Song Motets', in Jared C. Hartt, Tamsyn Mahoney-Steele, and Benjamin Albritton (eds.), Manuscripts, Music, Machaut: Essays in Honor of Lawrence Earp (Turnhout: Brepols, 2022): 413-39

‘Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle’, Journal of the American Musicological Society 72/2 (2019): 431-92

'Origins and Interactions: Clausula, Motet, Conductus', in Jared C. Hartt (ed.), A Critical Companion to Medieval Motets (Woodbridge: Boydell and Brewer, 2018): 43-60

‘Song and Quotation in Two-voice Motets for Saint Elizabeth of Hungary’, Speculum 92/3 (2017): 661-91

‘Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family’, Journal of Musicology 32/2 (2015): 153-97

'Seeking the Sense of Sound’ [Review article of Emma Dillon, The Sense of Sound: Musical Meaning in France, 1260-1330 (2012)], Journal of the Royal Musical Association 139/2 (2014): 405-20

‘Comparing Compositional Process in Two Thirteenth-Century Motets: Deus omnium/REGNAT and Ne m’oubliez mie/DOMINO, Music Analysis 33/3 (2014): 263-90

‘Contrafacta and Transcribed Motets: Vernacular Influences on Latin Motets and Clausulae in the Florence Manuscript’, Early Music History 32 (2013): 1-70

‘Ordering in the Motet Fascicles of the Florence Manuscript’, Plainsong and Medieval Music 22/1 (2013): 37-64

‘New Texts for Old Music: Three Early Thirteenth-Century Latin Motets’, Music & Letters 93/2 (2012): 149-69 [awarded the Westrup Prize]

 

ENCYCLOPAEDIA ENTRY

‘Motet §1, Middle Ages: Thirteenth-Century Origins’, Grove Music Online (Oxford University Press, 2020)
 

BOOK REVIEWS

Review of Jennifer Saltzstein ed., Musical Culture in the World of Adam de la HalleRevue de Musicologie 106/2 (2020): 491-4

Review of Anna Zayaruznaya, The Monstrous New Art: Divided Forms in the Late Medieval Motet (2015), Journal of the American Musicological Society 70/2 (2017): 528-32

Review of Yolanda Plumley, The Art of Grafted Song: Citation and Allusion in the Age of Machaut (2013), Music & Letters 96/1 (2015): 113-15

Review of Jennifer Saltzstein, The Refrain and The Rise of the Vernacular (2013), Early Music 42/2 (2014): 291-3

Review of Fred Büttner, Das Klauselrepertoire der Handschrift St-Victor (Paris, BN, lat. 15139): Eine Studie zur mehrstimmigen Komposition im 13. Jahrhundert (2011), Plainsong and Medieval Music 22/1 (2013): 98-101

Review of David J. Rothenberg, The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music (Oxford, 2011), Early Music 40/3 (2012): 498-500

Published Aug. 8, 2017 1:30 PM - Last modified Feb. 28, 2024 7:32 PM