Home » Pubblicazioni » Rivista di Analisi e Teoria Musicale (RATM) » Anno 2017/2 » Notes on Contributors / Notizie sugli autori

Notes on Contributors

- pag. 257-259

Alessandra Ignesti

She is a doctoral student in musicology at McGill University, Montreal. She previously received a Ph.D. in philosophy from the University of Padova, where she completed a dissertation on the relationship between chant and rhetoric in St. Augustine’s philoso- phy. Her present research concerns early Renaissance sacred polyphony, with a particu- lar focus on contrapuntal technique. Since 2014 she collaborates as a research assistant on the Cantus Ultimus project, part of the SIMSSA (Single Interface for Music Score Sear- ching and Analysis) Partnership Grant project (McGill University).

Julie Cumming

Full Professor of musicology at the Schulich School of Music, McGill University. She is the author of The Motet in the Age of Du Fay (1999) and numerous articles on the motet, compositional process, historical improvisation, and book history. She leads the search and analysis axis of the SIMSSA project (Single Interface for Music Score Searching and Analysis, funded by the Social Sciences and Humanities Council of Canada), aimed at making notated music searchable on line.

Agostino Magro

He is associate professor at the University of Rennes 2 Haute-Bretagne. He collaborates with the Centre d’Etudes Supe?rieures de la Renaissance (CESR) of the University of Tours. His researches focus on society and music of the fifteenth century, in particular in the Loire Valley (Ockeghem, Saint-Martin de Tours). He is editor of the Corpus des Messes Anonymes du XVe sie?cle (CESR) and a member of the project CRIM – Citation: Renaissance Imitation Mass (Haverford/CESR).

John Milsom

Professorial Fellow in Music at Liverpool Hope University. He has published widely on Tudor topics, Josquin Desprez, and the analysis of sixteenth-century vocal polyphony. He has also created (and continues to curate) the online Christ Church Library Music Catalogue. In collaboration with Jessie Ann Owens, he is currently preparing a new critical edition of Thomas Morley’s A plaine and easie introduction to practicall musicke (1597).

Catherine Motuz

She enjoys a career as a performer, teacher, and scholar. Co-director of La Rose des Vents (Montreal) and a founding member of I Fedeli (Basel), she has played with Con- certo Palatino and the Amsterdam and Freiburg Baroque Orchestras. In September 2018, she will become professor of historical trombone at the Schola Cantorum Basi- liensis. Based in Oxfordshire, she is a Ph.D. Candidate at McGill University, where she studies historical improvisation and ideas about musical expression in the Renaissance.

Cecilia Nocilli

After her First Degree in Musicology at the University of Pavia, she obtained her Ph.D. at the University of Valldolid (2008). She is currently a Hanna Kiel Fellow of The Har- vard University Center for Italian Renaissance Studies at Villa I Tatti, in Florence (2017–2018). She has taught music history, music analysis, performance practice and dance history at the University of Valladolid (1999–2016) and the Escuela Superior de Arte Drama?tico de Castilla y Leo?n (2006–2015). Her work focuses on Renaissance mu- sic theory applied to dance, the music and dance from the Fifteenth to the Nineteenth Century and the rhetoric of the music and the body. She is artistic director, harpsichor- dist and dancer of Il Gentil Lauro (www.ilgentillauro.com).

Susanna Pasticci

Associate professor in Musicology at the University of Cassino, she has been Editor of the «Rivista di Analisi e Teoria Musicale» since 2012. She has published widely on: music analysis; repertories from twentieth century (with a particular focus on Italian music and Igor Stravinsky); philological investigations and a study of creative proces- ses. Forthcoming, for LIM publisher, the book Musica e identita? nel Novecento italiano: il caso di Gavino Gabriel.

Jesse Rodin

Associate Professor of Music at Stanford University and co-editor of the «Journal of Musicology». He has published widely on fifteenth-century music. He directs the Jo- squin Research Project (http://josquin.stanford.edu), a digital tool for exploring a large corpus of Renaissance music, and the vocal ensemble Cut Circle (http://cutcircle.org). His research on musical form has been supported by fellowships from the American Council of Learned Societies and the Guggenheim Foundation. He spent 2017–18 as a fellow at the The Harvard University Center for Italian Renaissance Studies of Villa I Tatti in Florence.

Francesco Rocco Rossi

He published three monographs (Guillaume FauguesGuillaume Du Fay and Percor- si di musica rinascimentale), a handbook of Renaissance musical notation (De musica mensurabili) and various contributions on important musicological journals. He edited the critical edition of Faugues’ Opera omnia and of a series of fifteenth-century Mas- ses (these last editions for the CESR). He is Adjunct Professor at the Department of Musicology of the University of Pavia, where he teaches History of Renaissance music, and at the Istituto Pontificio Ambrosiano di Musica Sacra in Milano, where he teaches Renaissance polyphonic notation.

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