Anna Maria Busse Berger: Short CV
Professional Experience
1996– Professor of Music, UC Davis
1991–96 Associate Professor of Music, UC Davis
1989–91 Assistant Professor of Music, UC Davis
Visiting Appointments
2005–06 Lehman Visiting Professor, Harvard University Center
for the Study of the Italian Renaissance, Villa I Tatti, Florence
Mar 1999 Astor Visiting Lecturer, Oxford University
Organization of Conferences
Mondavi Center, UC Davis: “Compositional Processes: A Discussion with Composers, Musicologists, and Ethnomusicologists,” March 3, 2008
Villa I Tatti, Harvard University Center for Italian Renaissance Studies: “The Art of Memory: Between Archive and Invention from the Middle Ages to the Late Renaissance: Literature, Art and Music,” May 11, 2006
Awards and Fellowships
2006 Society for Music Theory's Wallace Berry Award for best book (2005) for Medieval Music and the Art of Memory
2006 ASCAP Deems Taylor Award for Medieval Music and the Art of Memory
2001–02 Fellow, National Endowment for the Humanities
2001–02 Marta Sutton Weeks Fellow, Stanford Humanities Center
1996–97 Fellow, John Simon Guggenheim Foundation
1992–93 Presidential Fellow, University of California (declined)
1992–93 Ahmansson Fellow, Villa I Tatti, Harvard University Center for Italian Renaissance Studies
1991 Alfred Einstein Award for "a musicological article of exceptional merit by a scholar in the
earlier stages of his or her career" for "The Myth of diminutio per tertiam partem"
Publications
I. Books
Mensuration and Proportion Signs: Origins and Evolution (Oxford: Clarendon Press, 1993).
Medieval Music and the Art of Memory (Berkeley: University of California Press, 2005). Italian translation, La musica medievale e l’arte della memoria, Rome, 2008. Winner of Wallace Berry Award from Society for Music Theory and Deems Taylor Award from ASCAP.
Anna Maria Busse Berger and Massimiliano Rossi, eds., Memory and Invention: Medieval and Renaissance Literature, Art, and Music, I Tatti Studies, (Florence: Olschki, 2009).
Anna Maria Busse Berger and Reinhard Strohm, Musical Writings in the Middle Ages, Cambridge Readings in Music, in preparation for Cambridge University Press.
II. Articles
“Music and Mathematics in the Middle Ages and the Renaissance,” La matematica, vol. 3, eds. Claudio Bartocci and Piergiorgio Odifreddi (Turin: Einaudi, 2010).
“The Role of Proportions in Composition and Memorization of Isorhythmic Motets,” eds., Sabine Rommevaux, Philippe Vendrix & Vasco Zara, Proportions, Centre d’Études Superieures de la Renaissance, Tours (Turnhout: Brepols, 2010).
“The Problem of Diminished Counterpoint,” "Uno gentile et subtile ingenio": Studies in Renaissance Music in Honour of Bonnie Blackburn, ed. Jennifer Bloxam, Gioia Filocamo, and Herbert Kellman, (Turnhout: Brepols, 2009).
“Some Thoughts on Composition, Transmission and Notation of Early Music,” Early Music: Context and Ideas II, International Conference in Musicology, 11-14 September, 2008 (Cracow: Institute of Musicology, 2008), 21–26.
“Models of Composition in the Fifteenth Century,” Memory and Invention in Medieval and Renaissance Literature, Visual Arts, and Music, I Tatti Studies (Florence: Olschki, 2009).
“The Origins of the Agenda of Medieval Musicology,” Music’s Intellectual History: Founders, Followers, and Fads, First Conference of the Répertoire International de Littérature Musicale, March 2005, City University of New York, ed. Zdravko Blazekovic, 2006.
“Compositional Practices in Trecento Music: Model Books and Musical Traditions,” Music as Social and Cultural Practice: Essays in Honour of Reinhard Strohm, eds. Melania Bucciarelli and Berta Joncus (Woodbridge, Suffolk: Boydell & Brewer, 2007), pp. 24–37.
“Die isorhythmische Motette und die Gedächtniskunst,” Kongressbericht Weimar 2004, Musik und kulturelle Identität, XIII. Internationaler Kongress der Gesellschaft für Musikforschung, forthcoming with (Kassel: Bärenreiter, 2007).
Review-essay of Jürg Stenzl, ed., Perotinus Magnus, Musik-Konzepte, 107 (Munich: Edition Text + Kritik, 2000), Plainsong and Medieval Music, 11 (2002), 44–54.
“L'invention du temps mesuré au XIIIe siècle,” Les Ecritures du temps, ed. Peter Szendy, Centre Georges Pompidou, IRCAM (Paris: l’Harmattan, 2001), pp. 21–56.
"Friedrich Ludwig, Jacques Handschin and the Agenda of Medieval Musicology" forthcoming Perspektiven auf die Musik vor 1600: Beiträge vom Symposium Neustift,/Novacella, 1998, ed. Annegrit Laubenthal (Hildesheim: Olms, 2005).
"The Evolution of Rhythmic Notation," Thomas Christensen, ed., Cambridge History of Western Music Theory (Cambridge: Cambridge University Press, 2002), pp. 628-56.
"The Interpretation of Mensuration Signs and Their Relationship to Commercial Arithmetic," Le notazioni della polifonia vocale dei secoli IX-XIV, eds. Maria Caraci Vela, Daniele Sabaino, and Stefano Aresi, (Pisa: Edizioni ETS, 2008), pp. 315–29.
"Gedächtniskunst und frühe Mehrstimmigkeit: Mündlichkeit in der Überlieferung des Notre Dame Repertoires," Hermann Danuser and Tobias Plebuch, eds., Musik als Text, vol. 2, (Kassel: Bärenreiter, 1999), pp. 241–46.
"Die Rolle der Mündlichkeit in der Komposition der 'Notre Dame-Polyphonie,'" Das Mittelalter, 3 (1998), 127–43.
"Notation mensuraliste et autres systèmes de mesure au XIVè siècle," Médiévales, 32 (1997), 31–46.
"Cut Signs in Fifteenth-Century Musical Practice," Music in Renaissance Cities and Courts. Studies in Honor of Lewis Lockwood, ed. Jessie Ann Owens and Anthony M. Cummings (Michigan: Harmonie Park Press, 1997), pp. 101–12.
"Mnemotechnics and Notre Dame Polyphony," Journal of Musicology, 14 (1996), 263–98.
"Musical Proportions and Arithmetic in the Late Middle Ages and Renaissance," Musica Disciplina, 44 (1990), 89–118.
"The Myth of diminutio per tertiam partem," Journal of Musicology, 8 (1990), 398426.
"The Origin and Early History of Proportion Signs," Journal of the American Musicological Society, 41 (1988), 40333.
"The Relationship of Perfect and Imperfect Time in Italian Theory of the Renaissance," Early Music History, 5 (1985), 128.Papers Read
“Wann war das Notre Dame Repertoire kanonisch?” at “Der Werkekanon in der Musik: Werturteil, Konstrukt, historiographische Herausforderung” international conference, Munich, July 22–26, 2009.
“Quotation in Medieval Music” (keynote) at “Citation, Intertextuality, and Memory in the Middle Ages: Text, Music, Image” international conference, University of Exeter, Centre for Medieval Studies, January 29–30, 2009.
“Some Thoughts on Composition, Transmission, and Notation of Early Music” (roundtable co-chair), at “Early Music: Context and Ideas,” Krakow, September 11–14, 2008.
“The Role of Proportions in the Composition and Memorization of Isorhythmic Motets,” at Le Colloques D’Etudes Humanistes, Proportions: Arts-Architecture-Musique-Mathematiques-Sciences, Université François Rabelais, Tours, June 30–July 4, 2008.
“The Magic Flute” (lecture), at the Mondavi Center, UC Davis, February 25, 2008.
“Compositional Practices in Trecento Music: Model Books and Musical Traditions” (keynote), at the American Musicological Society meeting, Chapel Hill, North Carolina, September 29, 2007, and at the American Musicological Society annual meeting, Quebec, November 3, 2007.
“The Consequences of Ars Nova Notation,” at “The Calligraphy of Medieval Music,” University of Toronto, September 21–23, 2007.
“Compositional Practices in the Italian Renaissance: Model Books and Musical Traditions” (colloquium) at the Music Department, University of Washington, Seattle, December 1, 2006.
“Models of Composition in the Fourteenth and Fifteenth Century,” at Villa I Tatti, Harvard University Center for Italian Renaissance Studies, “The Art of Memory: Between Archive and Invention from the Middle Ages to the Late Renaissance: Literature, Art and Music,” May 11, 2006, and at the Renaissance Society of America annual meeting, Miami, March 26, 2007.
“The Memorial Archive of the Medieval Musician,” at the Utrecht University Colloquia in Musicology, December 7, 2005, and at the Villa Spelman, Johns Hopkins University, colloquium, Florence, February 6, 2006.
“Compositional Process and the Art of Memory in Notre Dame Polyphony” (master class/research seminar), at the Institute of Medieval Studies, University of Utrecht, December 8. 2005, and at the Department of Music, University of Berne, Switzerland, April 19, 2006.
“Isorhythmic Motets and the Art of Memory” (master class/research seminar), at the Institute of Medieval Studies, University of Utrecht, December 9, 2005.
“Memory: Between Orality and Literacy,” at the Medieval and Renaissance Music Conference, Tours, Centre d’Etudes Superieures de la Renaissance, July 13-16, 2005.
“The Purpose of Isorhythm,” at the Music Forum, Graduate Center, City University of New York, May 5, 2005.
“How Did Medieval Composers Work Out Pieces in the Mind at the Center for Medieval Studies, University of Minnesota, Minneapolis, April 14, 2005.
“Friedich Ludwig, Jacques Handschin and the Agenda of Medieval Musicology,” at the First Conference the Répertoire International de Littérature Musicale on “Music’s Intellectual History: Founders, Followers, and Fads,” City University of New York Graduate Center, March 16–19, 2005.
“Die isorhythmische Motette und die Gedächtniskunst,” at the International Congress, Musik und kulturelle Identität, Weimar, September 17, 2004.
“Counterpoint Treatises and the Art of Memory,” at the International Colloquium on Early Music, Kloster Neustift (Novacella), Bressanone, Italy, July 2003.
"Isorhythmic Motets and the Art of Memory," at the Medieval Academy annual meeting, Minneapolis, April 11, 2003, and at “Early Music Contexts and Ideas,” Krakow, September 2003..
"The Role of Memory in the Composition of Polyphonic Music," at the UC Berkeley Medieval Studies luncheon, October 25, 2002.
"The Role of Memory in Medieval Music Composition" (seminar presentation), at "The Art and the Mind" at Stanford University, Center for the Advanced Study of the Behavioral Sciences, March 21, 2002.
"The Memorization of Counterpoint Treatises," at the Stanford Humanities Center, November 13, 2001.
"Tonaries and the Memorization of Gregorian Chant," at the University of California Medieval Seminar, Huntington Library, San Marino, California, March 3, 2001.
"L'invention du temps mesuré au XIIIe siècle," at IRCAM, Centre Pompidou, Paris, March 20, 2000.
"Friedrich Ludwig, Jacques Handschin, and the Invention of the Middle Ages," at "The End of a Period" international colloquium, Kloster Neustift near Bressanone, Italy, August 1998; Oxford University, March 17, 1999; the Department of Music, UC Berkeley, April 2, 1999.
"Ludwig und die Überlieferung der Notre Dame Polyphonie," at Musikwissenschaftliches Institut, Georg August Universität Göttingen, January 21, 1998; Musikwissenschaftliches Institut der Hochschule für Musik der Universität-GH Detmold-Paderborn. January 23, 1998; Department of Music, UC Berkeley, September, 1998.
"Notation mensuraliste et autres systèmes de mesure au XIVe siècle," at "Les Ateliers de Médiévales de l'Université Paris,” October 20, 1997.
"Die Rolle der Mündlichkeit in der Komposition der Notre Dame Polyphonie," at the Mediaevistenverband international meeting, Humboldt University, Berlin, February 25, 1997.
"Compositional Process in Notre Dame Polyphony," at the Department of Music, UC Berkeley, September 13, 1996.
"The Influence of Mnemotechnics on Compositional Process in the Thirteenth and Fourteenth Centuries," at Harvard University, March 30, 1995; the Department of Music, University of Colorado, Boulder, November 20, 1995.
"Mnemotechnics and Early Polyphony: The Role of Orality in the Composition and Transmission of the Notre Dame Repertory," at the Department of Musicology, UCLA, January 25, 1994; the Humanities Institute, UC Davis, February 4, 1994.
"Mnemonics and Notre Dame Polyphony," at the 59th Annual Meeting of the American Musicological Society, Montreal, October 1993; the annual meeting of the Medieval Academy, Boston, March 1995.
"Gedächtniskunst und frühe Mehrstimmigkeit: Mündlichkeit in der Überlieferung des Notre Dame Repertoires," Kongress der deutschen Gesellschaft für Musikforschung, Musik als Text, Freiburg, September 1993.
"La mnemotecnica e la prima polifonia: il ruolo dell'oralità nella composizione e trasmissione del Repertorio di Notre Dame," at the Department of Musicology, University of Rome, May 3, 1993.
"Minutiae and Chronaca: A Background to the Fourteenth‑Century Mensural System and Signs," at the Department of Music, UC Berkeley, September 14, 1990; the 56th Annual Meeting of the American Musicological Society, Oakland, November, 1990; Pacific Medieval Conference, UC Davis, March, 1991; 19th Medieval and Renaissance Music Conference, St. Catherine's College, Oxford, July 20, 1991.
"Musical Proportions and Arithmetic in the Late Middle Ages and the Renaissance," at "Analyse von Musik des 14. und 15. Jahrhunderts" international colloquium, Kloster Neustift near Bressanone, Italy, August, 1990; Renaissance Society of America annual meeting, Stanford University, March 26–28, 1992.
"The Origin and Early History of Proportion Signs," at the Department of Music, Stanford University, October, 1987; the 53rd Annual Meeting of the American Musicological Society, New Orleans, October, 1987.
"The Myth of Diminutio per tertiam partem," at the Department of Music, Stanford University, May, 1987; "Performance Practice in the Fourteenth and Fifteenth Centuries" international colloquium, Kloster Neustift near Bressanone, Italy, August, 1987; the joint meeting of the northern and southern chapters of the American Musicological Society, Stanford University, April, 1988.
"The Relationship of Perfect and Imperfect Time in Italian Theory of the Renaissance," at the Department of Music, Stanford University, October, 1984; the 50th nnual Meeting of the American Musicological Society, Philadelphia, November, 1984.
Service in Professional Organizations
2009–12 Member of Board of Directors, American Musicological Society
2010–11 Chair, AMS Committee on Communications
2009–11 Member, AMS Committee on Communications 2009 President, American Musicological Society, Northern California Chapter
1987–2009 Panelist, Guggenheim Foundation, NEH, ACLS, Stanford Humanities Center, Israel Science Foundation
1987–2009 Reviewer for Journal of the American Musicological Society, Journal of Musicology, Journal of Musicological Research;
Oxford University Press, Cambridge University Press, Indiana University Press, Norton
2009 Member of Program Committee of Fifth Conference on Interdisciplinary Musicology, Paris, Université de Paris, October 26–29
2008– Advisory Board, Journal of the Alamire Foundation (Leuven, Belgium)
2008 Organizer and Co-Chair of Session “Historical Theory and the Role of Cultural Memory,
“Early Music: Contexts and Ideas II,” International Conference in Musicology, September 11–14, 2008
2008 Organizer and Chair of Session “Italian Madrigals: Rhetorical Strategies II, in Honor of Lewis Lockwood,
”Annual Meeting of the Renaissance Society of America, Chicago, April 3, 2008.
2007– Member of Editorial Board of the Journal of Interdisciplinary Music Studies
2004–09 Member of Selection Committee, President’s Fellowship in the Humanities, University of California and NEH, Washington, DC
2006 Member of Program Committee of Conference on Interdisciplinary Musicology, Estonian Academy of Music and Theatre
with University of Tartu, Talinn, August 15–19, 2007
2006– Advisory Board for Music Journal Performance Practice Review
2005 Chair of the Program Committee of the Annual Meeting of the American Musicological Society, Washington, D.C., 2005
2004–05 Member of Program Committee for the Annual Meeting of the American Musicological Society in Seattle, Washington
2004– Member of Campaign Committee of the American Musicological Society
2003–04 Member of Program Committtee of Conference on Interdisciplinary Musicology, Graz, Austria, April 15–18, 2004
1999–2001 Chair of Einstein-Award-Committee
1998–2001 Member of Editorial Board, Journal of the American Musicological Society
2000 Member of Editorial Board, Perspektiven auf die Musik vor 1600: Beiträge vom Symposium Neustift,/Novacella,
1998 (Hildesheim: Olms, 2000)
1998–99 Member of Einstein-Award-Committee
1997–98 Member of the AMS Committee on Honorary and Corresponding Members
1995–97 Member of the Council, American Musicological Society
1994 Member of Program Committee, annual meeting of the American Musicological Society, Minneapolis, 1994
Service in University Committees
2007–09 Member, Faculty Research Lecture Award Committee
2006–09 Chair, Department of Music
2006–08 Member, University of California Merced, Committee for Academic Personnel
2006–09 Member, Executive Committee of the College of Letters and Sciences.
2006–09 Member, Selection Committee for University of California, Presidential Fellowship
2002–05 Member, University of California, Davis, Committee for Academic Personnel
2003–05 Member, University of California, Committee for Academic Personnel
1999–2002 Member of Davis Humanities Institute Advisory Board
2000–01 Chair, Ethnomusicology Search Committee
1998–2001 Member, Committee on Research
2000 Member of Special Committee on Academic Processes
1998–99 Member, Vision for the Arts Committee
Spring 1997 Member, Provost's Academic Advisory Committee
Spring 1997 Member, Search Committee for the Dean of the Graduate School
1995–97 Chair, Education Abroad Committee
1995–97 Member, University of California EAP Committee
1994–97 Member, Committee on Research
1994–97 Graduate Adviser
1991–92 Member, Committee on Research
1990–92 Graduate Adviser