Catherine Anne Bradley
Catherine A. Bradley 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 has been awarded 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) to begin in September 2020.
Formerly a Visiting Fellow at St Catherine’s College Oxford (2015) and a EURIAS fellow at the Institute of Advanced Studies in Paris (2017-18), Catherine will hold a Wigeland teaching and research fellowship at the University of Chicago in 2020. She was awarded the Music & Letters Westrup Prize in 2012, and received the inaugural Early Music Award of the American Musicological Society for her monograph, Polyphony in Medieval Paris: The Art of Composing with Plainchant (Cambridge University Press, 2018), which challenges traditional evolutionary narratives of the genre of the motet though close analytical engagement with surviving musical evidence.
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)
PEER-REVIEWED ARTICLES AND CHAPTERS
‘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 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]
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