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FA-57954-14
Of Abbeys and Aldermen: Music in Ghent to 1559
Barbara Haggh-Huglo, University of Maryland, College Park

Grant details: https://securegrants.neh.gov/publicquery/main.aspx?f=1&gn=FA-57954-14

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=1
Primary 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-announced
Primary 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-fellowship
Secondary 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=grants
Primary 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 Materials)
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=dIP2YwEeVXs
Primary URL Description: Youtube website
Access Model: open access
Format: Web


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