Catherine A. Bradley

Professor

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 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), which runs from September 2020-2025. She is one of the two researchers under 40 elected a fellow at the Norwegian Academy of Science and Letters Centre for Advanced Study for the 2020-2021 academic year.

Formerly a Wigeland Fellow at the University of Chicago (2020), a EURIAS fellow at the Institute of Advanced Studies in Paris (2017-18), and a Visiting Fellow at St Catherine’s College Oxford (2015), Catherine was awarded the Music & Letters Westrup Prize in 2012. She 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.

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

Publications

BOOKS

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]

 

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 Dec. 8, 2020 5:52 PM