Associated Products
Music and Migration as Opportunity in Medieval and Renaissance Ghent (Flanders) (Conference Paper/Presentation)Title: Music and Migration as Opportunity in Medieval and Renaissance Ghent (Flanders)
Author: Barbara Haggh-Huglo
Abstract: Closing lecture (conferencia de clausura) at Cologne Summer School: 'Serendipia: Migracion como oportunidad', University of Cologne, Germany
The city of Ghent, the most populous north of Paris in the fourteenth century, was established with its town council around the sites of the castle of the Counts of Flanders and two very old and important Benedictine abbeys, St Bavo’s and St Peter’s, both founded in the seventh century. The turbulent history of this major Flemish city offers instructive examples of migration – of people and of music: a forced migration of the two abbey communities after Viking invasions to the refugee community of intellectuals in Laon led to defining changes in liturgy and music in Ghent in the tenth to twelfth centuries. In the thirteenth century, migrating clergy brought music for the local saints of Ghent to Prague and Pécs. Finally, between the late fifteenth century and 1559, the monks of St Bavo’s abbey were forced to migrate to the church of St John’s in Ghent, where they would constitute the chapter at St John’s, now renamed and raised in status to the cathedral of St Bavo. This migration forced the monks to adapt to their new environment by renouncing their monastic liturgy and music in favor of the internationally-renowned choral polyphony of the Low Countries, which was accomplished with assistance from leading musicians, including those of Emperor Charles V. Each of these migrations, including the first and last that were forced, proved to be opportunities for enhancing the status of the migrants by different means, which included music.
Date: 7-31-2016
Primary URL:
http://lateinamerika.phil-fak.uni-koeln.de/26177.html?&L=1Primary URL Description: Description of the Cologne Summer School 'Serendipia: Migracion como oportunidad'
Conference Name: Serendipia: Migracion como oportunidad
Music in Medieval and Renaissance Cities in Europe: The Case of Ghent in Belgium (Conference Paper/Presentation)Title: Music in Medieval and Renaissance Cities in Europe: The Case of Ghent in Belgium
Author: Barbara Haggh-Huglo
Abstract: Formal abstract to be added later: I will discuss when, where, and which music was performed in the city of Ghent, with examples from different centuries. I will discuss patrons of music (the town administration, the churches, the nobility, private individuals), composers, and surviving music.
The purpose of this lecture was to present a clear overview of what is known about music in a single European town - to be compared during the lecture to others - so that this might later be compared with what is known of the music history of Chinese towns.
Date: 11-10-2016
Conference Name: Early Music Festival, Central Conservatory of Music, Beijing China, November 8-11, 2016
Yale University, Institute of Sacred Music, Fellowship 2017-18 (Staff/Faculty/Fellow Position)Name: Yale University, Institute of Sacred Music, Fellowship 2017-18
Abstract: Awarded Fellowship to study repetition and creativity in three sets of documents from Ghent: chant 'borrowed' from the Abbey of Cluny, saints' offices, and aldermen's registers. During the Fellowship time I gave several presentations, one now online and cited here, compared the chant of the St Bavo gradual to those of Cluniac monasteries, produced some 50 music examples for an edition of the chant for the patron saint of Ghent, Livinus, with my research assistant (Univ. Maryland), completed hundreds of entries in my database of fifteenth-century foundations, and prepared a project (for 2019) to evaluate the texts of the aldermen's registers using the DEEDS algoriths with a statistician from the University of Toronto. I also taught a course using my Ghent material, on Music in the Early Modern City, Yale University, MUSI 245 (spring 2018). I plan to submit the articles resulting from this work in fall 2018 and the book in spring 2019.
Year: 2017
Primary URL:
https://ism.yale.edu/news/2017-2018-ism-fellows-announcedPrimary URL Description: Announcement of Yale ISM Fellows, myself included
Secondary URL:
https://www.arhu.umd.edu/news/barbara-haggh-huglo-receives-yale-institute-sacred-music-fellowshipSecondary URL Description: Announcement of Fellowship at the University of Maryland College of Arts and Humanities website
Claude V. Palisca Summer Fellowship from the Renaissance Society of America for 2018 (Staff/Faculty/Fellow Position)Name: Claude V. Palisca Summer Fellowship from the Renaissance Society of America for 2018
Abstract: Mapping and Placing Music in Europe, 1400-1520: The Evidence of Contracts Registered with City Councils: with this project I test my reading of the Ghent aldermen's registers of the fifteenth century with study in summer 2018 of comparable city council registers of ten European cities: Antwerp, Utrecht, Lyon, Reims, Rouen, Tours, Augsburg, Dresden, Hamburg, and Heidelberg.
Year: 2018
Primary URL:
https://www.rsa.org/general/custom.asp?page=grantsPrimary URL Description: Description of the Fellowship and application requirements - I received notification of the award by email.
Yale University, MUSI 245 Church Music in Early Cities, 700-1700 (Course or Curricular Material)Title: Yale University, MUSI 245 Church Music in Early Cities, 700-1700
Author: Barbara Haggh-Huglo
Abstract: Course Description:
This course explores the place and purpose of a great variety of Christian liturgical music in the European urban environment, its ever evolving and changing nature, and the economy of music as demonstrated by the practices of lay benefaction, from 700-1700.
Expanded Course Description:
In medieval and early modern Europe, Christian church music conveyed religious doctrine and often political messages by painting texts with sound, dramatizing liturgical movement or filling space, evoking devotion, memories, or emotions, and mirroring heaven, or hell. Often regulated and mostly fixed in writing (after ca 850), religious liturgical music was usually performed by professionals and taught or composed only by the best of those initiated in that art, even though most levels of society heard it. In this course, we explore Christian music in selected European cities, from 700-1700. We will identify the music heard by different religious communities and social classes, in spaces including cathedrals and parish churches, court and private oratories, monasteries and convents, and guild chapels and hospitals. Particular emphasis will be given to the place and purpose of liturgical music, its ever evolving and changing nature, and the economy of music as demonstrated by the practices of lay benefaction. Finally, we will discuss successes and failures in early church music in the urban environment and consider how these might improve music and its patronage in modern urban churches in the United States.
Year: 2018
Audience: Undergraduate
The Liturgy of Lay Foundations in Ghent, 1400 - 1500 (Radio/Audio Broadcast or Recording)Title: The Liturgy of Lay Foundations in Ghent, 1400 - 1500
Writer: Barbara Haggh-Huglo
Director: Yale Institute of Sacred Music
Producer: Yale Institute of Sacred Music
Abstract: The Liturgy of Lay Foundations in Ghent 1400-1500
Did the laity control worship at church altars outside the main choir in Ghent in the century before the Reformation? How can these lay liturgies be categorized? Were they always votive? In this presentation, I explore the liturgies of a variety of lay foundations and the extent to which they were personal, private, communal, or of political consequence. I argue for a different understanding of late-medieval liturgy, one that is mindful of those physically present or not and their role, and of such events as bread distributions, or essential objects, including paintings. Discussed are the liturgy for the dead and for series of votive masses, for the Mandatum, and for two foundations of wider import, that for a mass before the Adoration of the Lamb, and for a new Marian feast, the 'Recollectio festorum beate Marie virginis.'
Date: 04/16/2018
Primary URL:
https://www.youtube.com/watch?v=dIP2YwEeVXsPrimary URL Description: Youtube website
Access Model: open access
Format: Web
Medieval Offices from Ghent and Cambrai: Some Ways of Interpreting their Melodies (Conference Paper/Presentation)Title: Medieval Offices from Ghent and Cambrai: Some Ways of Interpreting their Melodies
Author: Barbara Haggh-Huglo
Abstract: A comparison of the repertory of plainchant offices for saints composed in Ghent and Cambrai in the 9th-12th centuries.
Date: 01/16/2017
Primary URL:
https://www.youtube.com/watch?v=ew71tj2Ji8cPrimary URL Description: youtube video
Conference Name: The 'Historia' (organized by David Hiley, held at the Fondazione Levi, Venice, Italy)
Hearing and Teaching Music in Medieval Ghent (Conference Paper/Presentation)Title: Hearing and Teaching Music in Medieval Ghent
Author: Barbara Haggh-Huglo
Abstract: The paper will present what we know about music education and the kinds of music different classes of society heard in Ghent from manuscripts and archives of the 9th-early 16th centuries
Date: 07/11/2019
Conference Name: Invited plenary keynote lecture to be presented at the Annual Meeting of the International College Music Society in the Aula of the University of Ghent
Hearing the Topography of Music in Ghent: The Evidence of the Aldermen’s Registers (Public Lecture or Presentation)Title: Hearing the Topography of Music in Ghent: The Evidence of the Aldermen’s Registers
Abstract: Following a description of how foundations for music and liturgy were registered with the aldermen and entered into their large books, I surveyed the data available from these registers about choral singing, instrumental music, and instrument building (organs, bells). By comparing the yearly costs of the foundations, I argued that the foundation for the mass before the Van Eyck brothers Adoration of the Lamb was for a polyphonic mass. I then discussed how foundations might be used like micro-loans from individuals to churches to accomplish projects in churches today.
Author: Barbara Haggh-Huglo
Date: 11/16/2017
Location: Yale, Institute of Sacred Music, Public Lunchtime Presentation, Graduate Club, Yale University
Repetition, Creativity, and Value in Medieval Ghent (Public Lecture or Presentation)Title: Repetition, Creativity, and Value in Medieval Ghent
Abstract: Presentation of my Yale ISM Project for 2017-2018: I seek to identify what not just what creativity meant to people of that distant time, but what it was with respect to the use of what existed already. In short, I want to know what was created and what was repeated. I also want to determine the value of what was created – its cost, utility, or the esteem in which it was held, for example. I argue that this can be accomplished by combining data gathered from my analysis of three medieval primary source-types from the city of Ghent (in what is now Belgium) with broad interdisciplinary reading – of medieval theology, such as the theology of creation – never before considered for music, comparisons of music in cities, studies of repetition in mathematics, philosophy, biology, linguistics, education, and scholarship on the modern Church. This broad reading will lead me to new approaches to my data beyond those of statistics.
Author: Barbara Haggh-Huglo
Date: 09/20/2017
Location: Yale University, Divinity School, Great Hall
Music in the Early Modern City, 700-1700 (Univ Maryland College Park, School of Music, Fall 2018) (Course or Curricular Material)Title: Music in the Early Modern City, 700-1700 (Univ Maryland College Park, School of Music, Fall 2018)
Author: Barbara Haggh-Huglo
Abstract: Drawing on substantial scholarship in English, a wide range of historically informed sound recordings, my experience working in archives of this period across Europe (most recently Dresden, Hamburg, Utrecht, Lyon, Reims and others), and my preparations for a new historical performance project, I wish to compare the history of music in different cities in order to determine what is unique to particular cities, regional, or widespread, beginning with Rome (also Jerusalem and Istanbul for comparison), and closing with Venice, Amsterdam, Vienna, Paris, and again Rome. The topics to be discussed will be determined by the class, but can include strictly historical explorations of the professionalism of composing, performers of different ages (choirboys, adults), genders, and social standing; listeners, the spaces of musical performance and their social design, the economy of music: its producers, consumers, and advertisers; ethnomusicological approaches; philosophical approaches to the purpose of music, repetition vs creativity, music as sign, etc.; scientific approaches to music: the makeup of early instruments such as the organ; the use of music theory in education; numbers and notation; symbolism in public and religious music; and a range of other topics, including music manuscripts and archives, the writing, printing, transmission, and marketing of music, chant and liturgy, public ceremonies including processions and theater, and so on. There will be some transcription from early notation and some singing and acting in class. I also hope to organize a visit to the National Gallery of Art and bring in a speaker from the Art Department to discuss music in early paintings.
Year: 2018
Audience: Graduate
Early Modern Interdisciplinarity in the Low Countries: Organ Pipe Treatises, Aldermen and Altarpieces, and Guillaume Du Fay and the Organ (Conference Paper/Presentation)Title: Early Modern Interdisciplinarity in the Low Countries: Organ Pipe Treatises, Aldermen and Altarpieces, and Guillaume Du Fay and the Organ
Author: Barbara Haggh-Huglo
Abstract: “Early Modern Interdisciplinarity in the Low Countries: Organ Pipe Treatises, Aldermen and Altarpieces, and Guillaume Du Fay and the Organ, Invited paper delivered 22 November 2018 at the Musikwissenschaftliches Institut of the Universitaet Tuebingen on the series “Sacred Sound.”
Date: 11-22-2018
Conference Name: Invited Paper on series 'Sacred Sound', Musicology Seminar, University of Tuebingen, Germany
“Proper Offices for Saints and the Historia: Their History and Historiography, and the Case of the Historia for St. Livinus.” In Music, Liturgy, and the Veneration of Saints of the Medieval Irish Church in a European Context, ed. Ann Buckley, 23-50. Ritus (Article)Title: “Proper Offices for Saints and the Historia: Their History and Historiography, and the Case of the Historia for St. Livinus.” In Music, Liturgy, and the Veneration of Saints of the Medieval Irish Church in a European Context, ed. Ann Buckley, 23-50. Ritus
Author: Haggh-Huglo, Barbara
Abstract: Following an overview of issues including authorship, medieval creativity, individual compositional style in chant, and the state of research on 'historiae' (saints' offices), I discuss the office of Livinus the patron saint of medieval Ghent, whose life was fabricated to make him Irish, its chant and context in Ghent and its transmission to Prague. I provide a list of variants between the single manuscript source from Ghent, Univ Lib. 488, and the single source from Prague.
Year: 2017
Publisher: Brepols
Responsory Verses for Irish and Insular Saints: Medieval Singer-Composers at Work. in book: Music and Liturgy in Medieval Britain and Ireland A. Buckley & L. Colton (Eds.), (pp. 174-207) (Book Section)Title: Responsory Verses for Irish and Insular Saints: Medieval Singer-Composers at Work. in book: Music and Liturgy in Medieval Britain and Ireland A. Buckley & L. Colton (Eds.), (pp. 174-207)
Author: Haggh-Huglo, Barbara
Editor: Colton, Lisa, and Ann Buckley
Abstract: A comparison of the responsory verses composed for Irish and Continental saints, including those for Livinus of Ghent, a fictitious saint whose vita was modeled on that of an insular bishop. Responsory verses were in the ninth century texts set to standard melodies but later medieval composers embellished them or recomposed them entirely so they do reflect regional practices.
Year: 2021
Publisher: Cambridge University Press
Book Title: Music and Liturgy in Medieval Britain and Ireland A. Buckley & L. Colton (Eds.)
Medieval Offices from Ghent and Cambrai: Some Ways of Interpreting Their Melodies. in Historiae: Liturgical Chant for Offices of the Saints in the Middle Ages (Venice, 2000), (pp. 179-222). Venice: Fondazione Levi. (Book Section)Title: Medieval Offices from Ghent and Cambrai: Some Ways of Interpreting Their Melodies. in Historiae: Liturgical Chant for Offices of the Saints in the Middle Ages (Venice, 2000), (pp. 179-222). Venice: Fondazione Levi.
Author: Haggh-Huglo, Barbara
Editor: Hiley, David, and others
Abstract: Using the examples of the chanted offices composed for the patron saints worshipped in Ghent, Bavo, Landoald, and Livinus, as compared with offices for patron saints worshipped in Cambrai, Gaugericus and Maxellendis, all composed before 1200, I explore the tonality of their chant and then the possibility that the choice of neumes could be a marker of their compositional style. Longer neumes are especially revealing. My paper raises the question of the relative meaning of pitch and neume for the analysis of early medieval offices.
Year: 2020
Primary URL:
https://archivio.fondazionelevi.it/record/59248/files/HISTORIAE_4_2021.pdfAccess Model: open access
Book Title: Historiae: Liturgical Chant for Offices of the Saints in the Middle Ages (Venice, 2000) (pp. 179-222). Venice: Fondazione Levi.
ISBN: 978 88 7552 0
Chant, Art, and Archives: How Late-Medieval Documents Reveal Liturgy. Bulgarian Musicology, 1. Accepted and in press. (Article)Title: Chant, Art, and Archives: How Late-Medieval Documents Reveal Liturgy. Bulgarian Musicology, 1. Accepted and in press.
Author: Haggh-Huglo, Barbara
Abstract: Using the aldermen's books of Ghent and a variety of other pre-1800 northern European genres of document, I explain how foundation histories of music could be constructed and point to useful secondary sources. As an example of how archives and a musicological approach can change the interpretation of paintings, I discuss the Van Eyck brothers 'Adoration of the Lamb' in St Bavo's church in Ghent to argue that it is incomplete without the daily sounding mass founded by the couple depicted in the painting.
Year: 2023
Format: Journal
Periodical Title: Bulgarian Musicology
Music and Migration as Opportunity in Medieval and Renaissance Ghent (Flanders). in Serendipia: migracion como oportunidad, ed. Wentzlaff-Eggebert (pp. 109-127). Cologne: Arbeitskreis Spanien-Portugal-Lateinamerika,, Univ. (Book Section)Title: Music and Migration as Opportunity in Medieval and Renaissance Ghent (Flanders). in Serendipia: migracion como oportunidad, ed. Wentzlaff-Eggebert (pp. 109-127). Cologne: Arbeitskreis Spanien-Portugal-Lateinamerika,, Univ.
Author: Haggh-Huglo, Barbara
Editor: Wentzlaff-Eggebert, Christian
Abstract: This article explains how musical life in Ghent changed after the monks of St. Bavo's Abbey were moved to the church of St. John in Ghent to become a chapter of canons in the decades prior to 1559, when St. John's church was renamed St. Bavo's cathedral. Using my archival research and published scholarship, I describe music before and after, and emphasize the dramatic increase in the performance of choral polyphony after this 'migration' of the monks.
Year: 2018
Primary URL:
https://kups.ub.uni-koeln.de/10240/Access Model: open access
Foundations by Lay and Clergy for Chant and Liturgy in Northwest Europe: A Logical Approach to this History. (Conference Paper/Presentation)Title: Foundations by Lay and Clergy for Chant and Liturgy in Northwest Europe: A Logical Approach to this History.
Author: Haggh-Huglo, Barbara
Abstract: Charters, obituaries, accounts, aldermen's registers, tax records, and chronicles attest to the many foundations made across northern Europe for liturgy and music. Using a foundation history of the Marian feast of the 'Recollectio festorum beate Marie virginis' of Cambrai and the daily mass before the Van Eycks' 'Adoration' of the Lamb' in Ghent, I show how documents about foundations are of broader consequence for dating manuscripts, interpreting paintings, and reconstructing a broader history of worship after 1300.
Date: 1/4/2023
Conference Name: Annual Meeting of the North American Association of Liturgy
Spanish Processionals in the European Context (Conference Paper/Presentation)Title: Spanish Processionals in the European Context
Author: Haggh-Huglo, Barbara
Abstract: I compared the contents of a processional from Seville which my class of 50 at the Univ. MD, College Park collectively transcribed in spring 2021 as part of MUSC 360 - Music History from Ancient Greece to 1900 - with a processional from Ghent and that against published repertories of processional chant. From this I situated Spanish chants with respect to those of Europe and proposed some new directions for research.
Date: 9/9/2021
Conference Name: Processionals at the Cathedral of Zaragoza: Context, Contents, and Meanings, at the Complutense University in Madrid, Online.
The Chant 'Clementissime' Founded in Ghent and its History (Conference Paper/Presentation)Title: The Chant 'Clementissime' Founded in Ghent and its History
Author: Haggh-Huglo, Barbara
Abstract: History of the chant 'Clementissime' from early medieval Rome to late medieval Ghent, where it was frequently requested for funerals.
Date: 1/3/2020
Conference Name: Annual Meeting, North American Academy of Liturgy, Atlanta, GA
Library of Congress, Music Division, ML 1711 C 77: A New Look at an Old Manuscript (Conference Paper/Presentation)Title: Library of Congress, Music Division, ML 1711 C 77: A New Look at an Old Manuscript
Author: Haggh-Huglo, Barbara
Abstract: Argued that the Library of Congress manuscript was copied in Affligem but that the treatise in it, the 'Musica' of John of Affligem, was written at the Abbey of St. Peter's in Ghent, an entirely new interpretation of the manuscript and the treatise. The Abbey of Affligem was established by men sent from St. Peter's Abbey and the conductus copied at the end of the manuscript by Philip the Chancellor arrived when his successor in Paris, Guiard of Laon, came to stay at the Abbey of Affligem at the end of his life. Michel Huglo had previously argued for an origin of the LOC manuscript at Affligem for other reasons. St. Peter's Abbey of Ghent had never been associated with this treatise, but it flourished in the 10th-12th c. as a center of learning and early manuscripts of theory with musical notation survive from it. My arguments analyzed the musical notation in the manuscript and the citations of chants in the treatise. [My research is ongoing because it was limited by the pandemic.]
Date: 9/21/2019
Conference Name: American Musicological Society, Capital Chapter, Jefferson Bldg, Library of Congress, Washington, DC
From Heaven to Earth: Music Education in Ghent to 1550, Invited and funded keynote lecture (Conference Paper/Presentation)Title: From Heaven to Earth: Music Education in Ghent to 1550, Invited and funded keynote lecture
Author: Haggh-Huglo, Barbara
Abstract: Paper explored the contents of the manuscript Ghent, University Library, MS 70, a compilation of treatises of music theory illustrated with diagrams and tables. From these treatises, which date from the eleventh to the fifteenth century, I traced the history and methods of music teaching to ca. 1500 when the manuscript was copied.
Date: 7/14/2019
Conference Name: International Meeting of the College Music Society, Ghent, Belgium
Mining Archives for Music (Conference Paper/Presentation)Title: Mining Archives for Music
Author: Polson, Simon (former PhD advisee of BHH)
Author: Haggh-Huglo, Barbara
Abstract: Presentation in two parts - the first by me on pre-1800 types of archival documents from France and the Low Countries, including Ghent, and how they can be mined for information about music - the second by my former student on the 15th-16th-century archives of London, England, as sources of information about music. 10-minute presentation.
Date: 2/12/2022
Conference Name: Evening Meeting of the Skills and Resources for Early Music Study Group at Annual Meeting of American Musicological Society
La duree de la beaute -- les chants de Guillaume Du Fay pour les eglises des Pays-Bas, 1458-1953 (two-hour lecture in French written by me) (Conference/Institute/Seminar)Title: La duree de la beaute -- les chants de Guillaume Du Fay pour les eglises des Pays-Bas, 1458-1953 (two-hour lecture in French written by me)
Author: Haggh-Huglo, Barbara
Abstract: Awarded: College Belgique - Lecture, Academie Royale de Belgique. Research/Scholarship.The Academie Royale de Belgique holds an annual competition for leading scholars to present public lectures on their research to the College de Belgique (the equivalent in this smaller country of the American Academy of Sciences). My proposal for a paper was accepted in September 2020 and the paper was delivered on 26 April 2022, the delay due to COVID. Full details under 'Presentations'Notes & Annotations: My presentation was a two-hour-long summary I wrote in French of the conclusions of my three-volume book, 'Recollecting the Virgin Mary with Music: Guillaume Du Fay's Chant across Five Centuries'. 3 vols. finished and copyedited, to be submitted for publication soon (accepted by the American Institute of Musicology). My presentation's title: "Awarded: College Belgique - Lecture, Academie Royale de Belgique. Research/Scholarship.The Academie Royale de Belgique holds an annual competition for leading scholars to present public lectures on their research to the College de Belgique (the equivalent in this smaller country of the American Academy of Sciences). My proposal for a paper was accepted in September 2020 and the paper was delivered on 26 April 2022, the delay due to COVID. Full details under 'Presentations'Notes & Summary of the conclusions of my 3 vol., 24 chapter book (resulting in part from an NEH award of the 1980s, 'Recollecting the Virgin Mary with Music: Guillaume Du Fay's Chant across Five Centuries,' now finished and copyedited, soon to be submitted for publication (accepted by the American Institute of Musicology). Among some 70 churches where celebrations took place of this office, which I proved was composed by the renowned theologian Gilles Carlier and famous composer Guillaume Du Fay, was the convent of St. Agnes in Ghent.
Abstract: The Academie Royale de Belgique holds an annual competition for leading scholars to present public lectures on their research to the College de Belgique (the equivalent in this smaller country of the American Academy of Sciences). My proposal for a paper was accepted in September 2020 and the paper was delivered on 26 April 2022, the delay due to COVID. My presentation was a two-hour-long summary of the conclusions of my three-volume book, 'Recollecting the Virgin Mary with Music: Guillaume Du Fay's Chant across Five Centuries'. 3 vols. finished and copyedited, to be submitted for publication soon (accepted by the American Institute of Musicology; some NEH funding in the 1980s). Among some 70 churches where celebrations took place of this office, which I proved was composed by the renowned theologian Gilles Carlier and famous composer Guillaume Du Fay, was the convent of St. Agnes in Ghent.
Date Range: 4/16/2022
Primary URL:
https://lacademie.tv/conferences/la-duree-de-la-beaute-les-chants-de-guillaume-du-fay-pour-les-eglises-des-pays-bas-1458-1953Primary URL Description: Videotape of my lecture
Secondary URL:
https://www.academieroyale.be/Academie/documents/Programme_CB202231684.pdfSecondary URL Description: Program book for the lectures to the College de Belgique selected by competion. See p. 10, second column, bottom right for mine.
Plato’s World-Soul in Diagrams and Music Theory to 1400: From Numbers to Scales and Planets to Instruments, submitted and accepted (Book Section)Title: Plato’s World-Soul in Diagrams and Music Theory to 1400: From Numbers to Scales and Planets to Instruments, submitted and accepted
Author: Haggh-Huglo, Barbara
Editor: Thomas, Edmund
Editor: Prins, Jacomien
Abstract: Explanation of the Demiurge's creation of the World-Soul in Plato's Timaeus and of its geometric and arithmetic interpretations in music, then history of its reception in writings on music via Mediterranean and northern Roman and Carolingian transmissions at first and then the mingling of these two transmissions in Paris and in northern Italy in the thirteenth and fourteenth century. This article is informed by and informs a chapter of my book in progress on Ghent, because in this article I reinterpret Martianus Capella's 'Marriage of Philology and Mercury' as part of the Mediterranean reception of Plato's 'Timaeus' and two early manuscripts from Ghent include this text with added music and notation.
Year: 2022
Publisher: Brill, Leiden, NL
Book Title: Plato's Timaeus and the Foundation of Medieval and Renaissance Thought: Philosophy, Science and Art