Catherine Anne Bradley

Associate Professor - Department of Musicology
Norwegian version of this page
Visiting address Sem Sælands vei 2 ZEB-bygningen 0371 OSLO
Postal address Postboks 1017 Blindern 0315 OSLO

Catherine A. Bradley 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 an Assistant Professor at the State University of New York at Stony Brook. In 2015, Catherine was a Visiting Fellow at St Catherine’s College Oxford and she was awarded the Music & Letters Westrup Prize in 2013. Her forthcoming monograph, Polyphony in Medieval Paris: The Art of Composing with Plainchant (Cambridge University Press) challenges traditional evolutionary narratives of the genre of the motet though close analytical engagement with surviving musical evidence. In the 2017-18 academic year she holds a EURIAS fellowship at the Institute of Advanced Studies in Paris.

Tags: Musicology; Music Theory; Medieval Music; Motets; Compositional Process; Text-Music Interactions



Polyphony in Medieval Paris: The Art of Composing with Plainchant (Cambridge: Cambridge University Press, forthcoming 2018)

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



'Origins and Interactions: Clausula, Motet, Conductus', in Jared Hartt (ed.), A Critical Companion to Medieval Motets (Woodbridge: Boydell and Brewer, forthcoming 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]



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. 27, 2018 5:17 PM