Eric BERGWALL is a Ph.D. student at the Department of Musicology at Uppsala University, Sweden. Research interests include early music theory and pedagogy, improvisation, and historiography. His Ph.D. project deals with the music copied by the Elizabethan musician John Baldwin, and in relation to this also questions about similarity and intertextuality. Apart from his Ph.D. work, he sings in various choirs, and study Japanese when time allows.
erik.bergwall at musik.uu.se
Julie CUMMING has taught music history at the Schulich School of Music, McGill University, for 30 years, where she has supervised almost 60 graduate students, some of which are in Tours. The author of The Motet in the Age of Du Fay (1999) and many articles, her research focuses on Renaissance polyphony in the fifteenth and sixteenth centuries, from many points of view: genre (especially the motet and madrigal), history of the book, style change, historical improvisation, compositional process, and computational musicology. She is currently working with Cory McKay on a computational study of the origins of the madrigal, and on the chant paraphrase canons in Isaac’s Choralis Constantinus II.
julie.cumming at mcgill.ca
Richard FREEDMAN is Professor of Music and John C. ’43 Whitehead Professor of Humanities at Haverford College. He is the author of two books: The Chansons of Orlando di Lasso and their protestant listeners: music, piety, and print in sixteenth-century France (Rochester, 2001), and Music in the Renaissance, 2, vols. (New York, 2012; also available in Spanish translation via Akal publishers [2018]), as well as many essays in leading journals and encyclopedias.
He has served in leadership roles for major scholarly societies: as Digital and Multimedia Scholarship Editor for The Journal of the American Musicological Society, as Chair of the Technology Committee for the American Musicological Society, as Chair of the Digital and Electronic Media Committee (and member of the Board of Directors) for the Renaissance Society of America, and as member of the Board of Directors of Répertoire International de Littérature Musicale (the leading bibliographical authority for writings on music).
Freedman’s record of work with digital applications for the study of music has involved a wide range of musicologists, information scientists, and developers from the CESR in Tours, from The Maryland Institute for Technology in the Humanities (University of Maryland), from the Digital Scholarship Lab of Haverford College, as well as a dozens of participating scholars and students from around the world. The Lost Voices Project (2012–2014; http://digitalduchemin.org) was supported by prestigious awards from the National Endowment for the Humanities and the American Council of Learned Societies. Citations: The Renaissance Imitation Mass (2014–Present; http://crimproject.org), has been supported by a transatlantic partnership grants from the Mellon Foundation and the Maison des sciences de l’homme, and the American Council of Learned Societies. During 2019 he held the Marie Skłodowska-Curie Research Fellowship from Le Studium (the Loire Valley Institute for Advanced Study in Orléans) to support his work with the Centre d’études supèrieures de la Renaissance in Tours.
rfreedma at haverford.edu
Simon FRISCH is an American composer. Projects include: the recent Fais doncq ung chant for The New Consort, commemorating Josquin des Prez; The Body Untied for soloists and baroque chamber orchestra, a co-production of Amanda+James, BZH NY, Région Bretagne, and lightbox gallery; and Sandglass Vespers at Alice Tully Hall in Lincoln Center for the New Juilliard Ensemble. He is a C.V. Starr doctoral fellow at The Juilliard School, currently in Paris as a Fulbright research fellow. He is interested in music at the court of Anne of Brittany, and the works and biography of Mathieu Gascongne.
simon.m.frisch at gmail.com
Alessandra IGNESTI is a postdoctoral researcher at KU Leuven, working on the CELSA research project “Musical Interactions between the Low Countries Music and Central Europe, 1400-1650.” She recently earned a Ph.D. in musicology at McGill University (2022); her background includes a previous Ph.D. in philosophy from the University of Padua (2010). Her main research interests are plainchant (especially late repertories) and sacred polyphony (fifteenth-century hymn settings, songs of the Devotio Moderna, and late sixteenth-century Italian masses).
Ian LORENZ is a doctoral candidate in musicology at McGill University supervised by Julie Cumming and Peter Schubert. His dissertation research focuses on Gombert’s eight-tone Magnificat cycle with a specific emphasis on the interrelationship between counterpoint and form. Ian’s involvement with CRIM began in 2016 when he participated as a student analyst. Since then, his role in CRIM has expanded to include giving presentations at the Medieval and Renaissance Music Conference (MedRen) in Maynooth, and he was invited by Richard Freedman in 2019 to lead discussions about the vocabulary and analytical procedures at Counterpoints: Renaissance Music and Scholarly Debate in the Digital Domain in Tours.
squall472 at gmail.com
Sylvain MARGOT is a PhD student at McGill university, under the supervision of Peter Schubert and Julie Cumming. His thesis deals with the stylistic analysis of melodies of galliard dances at the end of the Renaissance. More generally, his is very interested in corpus studies and the question of stylistic evolution of musical language(s).
sylvain.margot at mail.mcgill.ca
Alex MORGAN has been writing automated music analysis tools for a decade, first for SIMSSA, then Humdrum, and now for CRIM’s Intervals. His theoretical background focuses on counterpoint and dissonance treatment in Renaissance music. Alex is particularly interested in uncovering our assumptions and conceptual shortcomings using thorough corpus studies.
alexanderpmorgan at gmail.com
Benjamin ORY received his Ph.D. in musicology from Stanford University in 2022, and has since served as Visiting Assistant Professor in Musicology at Williams College. His research examines the origins of mid sixteenth-century musical style and its twentieth-century reception. He is editing a volume of motets for the Adrian Willaert collected-works edition with the American Institute of Musicology and is preparing several articles for publication on the early history of Renaissance musicology.
benjaminory at gmail.com
Jessie Ann OWENS is Distinguished Professor Emeritus at the University of California, Davis, where she served as Dean of Humanities, Arts and Cultural Studies from 2006 to 2014. She is currently co-editing with John Milsom Thomas Morley’s A plaine and easie introduction to practicall musicke (1597).
jaowens at ucdavis.edu
Vlad PRASKURNIN is a second-year Master’s student in Music Theory at McGill University (Montreal). He is interested in analysis, compositional pedagogy, historical improvisation and history of theory, all in the broad span of c. 1500-1750. He iscurrently working on an analysis of Lassus’ Missa Doulce Memoire with the help of the CRIM tools, was involved in improving cadence detection, and am generally interested in CRIM for its amazing expansion of analytical possibilities.
vlad.praskurnin at mail.mcgill.ca
Andrea PUENTES-BLANCO is Permanent Researcher in Musicology at the Spanish National Research Council (CSIC), Institución Milá y Fontanals de Investigación en Humanidades (Barcelona) since 2021. Previously, she was Assistant Lecturer at the Université Toulouse Jean Jaurès (France). Her main research interest is the Iberian music of the sixteenth and early seventeenth centuries, with a particular focus in the city of Barcelona and the Catalan context. She is currently finishing a monograph, “Music, Ceremony and Devotion in Barcelona (ca. 1550-1650): repertoires, contexts and musical practices”, based on a revised version of her PhD dissertation.
apuentes at imf.csic.es
Esperanza RODRIGUEZ-GARCIA holds a PhD from The University of Manchester and have had postdoctoral fellowships in the UK, Portugal and France. She recently settled in Madrid (Universidad Complutense). She is interested in analysis, source studies, historiography, soundscapes/music heritage and digital tools (for research and public engagement). Esperanza is finalizing a European project on the soundscapes of Royal entries (and how to communicate them to the wider public with digital tools). She is also writing various pieces from previous projects on the use of computer statistical analysis to discuss historiographical concepts of central and lateral traditions in the European canon c.1500.
esprodri at ucm.es
Daniel RUSSO-BATTERHAM worked as a researcher at the Centre d’Études Supérieures de la Renaissance in Tours, France, from 2011-13, while completing a Master of Music. In April 2018, he graduated from his PhD at the University of Melbourne where he used computational methods to examine seventeenth-century lute songs, with a particular focus on the relationship between text and music. Since graduating, Daniel has worked on Digital Humanities projects across Australia and abroad. He has a background in python, data wrangling, relational database design, web scraping, quantitative methods, natural language processing, and a broad range of approaches to visualization. He is currently working in the Melbourne Data Analytics Platform, a transdisciplinary workforce that collaborates with researchers to enhance data-intensive research.
Emilio M. SANFILIPPO has been a researcher at the National Research Council (CNR, Italy) since October 2020, affiliated with the Laboratory of Applied Ontology (LOA) of the Institute of Cognitive Science and Technology (ISTC). He received a bachelor’s degree in Philosophy (2009) and a master’s degree in History of Philosophy (2012) from the University of Catania (Italy); he obtained a PhD (2017) in Information and Communication Technologies (ICT) from the University of Trento (Italy). He has done postdoctoral research at the Institute for Advanced Studies Le Studium (France; 2019-2020), at CNRS (France; 2017-2018) and at the University of Saarland (Germany; 2011-2013).
He works on conceptual and formal foundations of applied ontology for data management and knowledge representation for industrial manufacturing and digital humanities. He is editor of two special issues in international journals for the use of ontologies in industrial engineering; has contributed to the organization of international scientific events, and is a member of the executive committee of the International Association for Ontology and its Applications (IAOA).
emiliosanfilippo at gmail.com
Peter SCHUBERT studied with Nadia Boulanger and received his degrees from Columbia University. He has published two textbooks on counterpoint and articles on Renaissance music and music pedagogy. in 2019 he received The Gail Boyd de Stwolinski Prize for Lifetime Achievement in Music Theory Teaching and Scholarship. He conducts the Orpheus Singers of Montreal and has recorded six CDs with VivaVoce, a professional vocal ensemble he founded in 1998. On YouTube he has posted three videos on “contrapuntal thinking” and fourteen on Renaissance improvisation. In 2015 the Vierter Leipziger ImprovisationsFestival said “Peter Schubert gilt als großer Improvisations-Guru Nordamerikas.”
peter.schubert at mcgill.ca
Jonathan STORH has been playing cello since the age of 6 and now in the sixth semester at the University of Augsburg, studying for a Bachelors of music degree. Interested in all kinds of music, but have not yet had too much contact with Renaissance music so CRIM is a great opportunity to get some insight.
jonathan.stroh at uni-a.de
Maura SUGG is a 3rd year PhD candidate in Musicology at Case Western Reserve University studying with David J. Rothenberg. Before attending Case Western, she earned a Master of Arts in Musicology from Indiana University and a Bachelor of Arts in Liberal Arts from St. John’s College (Annapolis, MD). Her interests are wide-ranging and currently include her longstanding love of Renaissance music and newfound passion for popular music and media. She is now officially embarking on her dissertation that will explore the interpretive dimensions of intertextuality in Renaissance polyphony and its singer-listeners’ experiences of embodied musical memory, with a particular focus on Tomás Luis de Victoria’s self-borrowing in his imitation masses.
mxs1656 at case.edu
Gabriele TASCHETTI studied musicology at the University of Padua. He is currently completing his PhD in Padua with a project on an anthology of sacred concertos for voices and basso continuo published in Venice in 1621. He holds a diploma in Composition and some of his music have won awards in Italy and abroad. He is interested in compositional techniques, music theory and analysis, reconstruction of incomplete music, and music history (institutions, patronage, circulation of music and musicians). He recently worked on an incomplete collection by Giovanni Battista Riccio (1614), of which he proposed a reconstruction of the missing parts.
taschele at libero.it
Marina TOFFETTI is Assistant Professor of Music Theory at Padua University (where she also teaches Music Analysis and Music Paleography). Her PhD focused on musical philology and the critical edition in music, but she also has
broad interests in the history of music and musical institutions, music analysis, reception and dissemination of Italian music. She has published extensively (monographs, scientific articles, encyclopedia and music dictionary entries, reviews, critical editions) on the music of Ingegneri, Frescobaldi, and Ardemanio. This work earned her the international prize ‘Italian Heritage Award’. She has offered international seminars, and has participated in the work of musical reconstruction and (recently/since 2019*) worked with CRIM in one of her courses.
marina.toffetti at unipd.it
Laurie L. TUPPER is an Associate Professor of Statistics at Mount Holyoke College, previously at Williams College; she did her undergraduate work at Swarthmore College and obtained her doctorate at Cornell University. She works on classification, clustering, and modeling problems for high-dimensional and dependent data, including time series and spatio-temporal data. She is especially interested in the representation of complex observations and the multiple ways to define similarity and distance between them.
ltupper at mtholyoke.edu
Michael WINTER is an AHRC-funded PhD Candidate at Newcastle University, UK. His PhD focuses on the polyphonic fragments from the Eton Choirbook, reconstructing the fragments, and using the process to examine contemporary reconstruction and fifteenth-century compositional processes. Michael has been working with CRIM since February 2022 to transcribe masses and motets by Victoria, Rore, Padovano, Josquin, and Verdelot.
m.winter at newcastle.ac.uk