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DIAMM was founded by two leading musicologists in the field of Medieval Manuscript Studies, and has since grown to encompass scholars and researchers in musicological and technical disciplines:

Founding Directors

Margaret Bent was a Senior Research Fellow of All Souls College, Oxford from 1992, now an Emeritus Fellow, though she continues to teach in Oxford and internationally, and maintains active contact with young scholars and performing groups. She taught for many years at Brandeis and Princeton Universities in the U.S.A. A former President of the American Musicological Society, she is a Fellow of the British Academy and was appointed CBE in 2008. Among many other awards are honorary degrees from the universities of Glasgow and Notre Dame and the Harrison Medal of the Society for Musicology in Ireland. Her research centres on English, French and Italian music of the fourteenth to sixteenth centuries. Over a hundred published essays range across technical matters of music theory, issues that bridge notation and performance, manuscript studies and descriptions of new sources, interfaces with literary, historical and biographical questions. Her most recent major publication is a facsimile and study of the Veneto manuscript Bologna Q15, co-published with DIAMM, and winner of the AMS’s Claude Palisca award, 2009.

Professor Andrew Wathey is Vice-Chancellor and Chief Executive of Northumbria University. He was previously Senior Vice-Principal at Royal Holloway University of London (2006-08), serving also as Vice-Principal Planning and Resources (2003-6), Dean of Arts (2002), and Head of Music (2000-02). He was appointed Professor of Music History at Royal Holloway in 1999, having been, from 1989, successively, Lecturer, Senior Lecturer and Reader. As Senior Vice-Principal he had policy responsibility for strategic planning and for the College's financial resources and the estate, leading the development of Royal Holloway's Corporate Strategy 2005-2010, developing strategic collaborations, and overseeing a £100m capital programme. He also led its Music Department to a 5** in the 2001 RAE. He was Lecturer in Music at Lancaster University (1988-89), Research Fellow at Downing College, Cambridge (1985-8), Junior Research Fellow at Merton College, Oxford (1982-5), graduating from St Edmund Hall, Oxford University in 1979. He was a Visiting Fellow at All Souls College, Oxford in 1998.

President

Directors

Holders of the current AHRC: DEDEFI grant

Since 1989 Martin Kauffmann has worked as a medieval specialist in the Western Manuscripts section of the Bodleian’s Department of Special Collections and Western Manuscripts, with curatorial responsibility for medieval manuscripts (mostly European) from late antiquity to c.1500, involving acquisitions, cataloguing, exhibitions, and assistance to readers and members of the public. He supervises projects for the online cataloguing of medieval manuscripts and for the digitization of images of illuminated manuscripts (in partnership with ARTstor of New York). He is the Library’s subject consultant for art history and palaeography/manuscript studies, and chairs the University’s Committee for Library Provision in Art History. From 1999 to 2001 he edited the Bodleian Library Record, and now sits on its editorial board. He is the Bodleian representative of the Association of University Teachers. Dr. Kauffmann acts as an advisor to the Acceptance in Lieu Panel of the Museums, Libraries and Archives Council, and to the Reviewing Committee on the Export of Works of Art in the Department for Culture, Media and Sport. He is a member of the consultative user group for the British Library survey of illuminated manuscripts. He has served as an advisor to the International Center of Medieval Art in New York, and as a member of the advisory panel of the project ‘Palaeography – developing the national resource’, based at the University of London Library. He has also been a visiting consultant to the Department of Manuscripts at the J. Paul Getty Museum, California.

Elizabeth Eva Leach is University Lecturer in Music at the University of Oxford, having previously been Reader in Music at Royal Holloway, University of London. Her book Sung Birds: Music, Nature, and Poetry in the Later Middle Ages was published in 2007 by Cornell University Press, who will also publish her monograph on Guillaume de Machaut in 2011. Leach gives regular papers to audiences of musicologists and medievalists. In 2011 she will be one of the speakers in the 26th Annual Darwin College Lectures at the University of Cambridge. Please visit her personal website here.

Thomas Schmidt-Beste (* 1968) is Professor and Head of Music at Bangor University. He studied at the universities of Heidelberg and Chapel Hill (USA) and received his doctorate in Heidelberg in 1995 with a thesis on Felix Mendelssohn's aesthetics. After working in Heidelberg for the Cappella Sistina (Music of the Papal Chapel) research project and spending a year as a Humboldt Fellow at the University of Illinois (Urbana), he received his Habilitation in 2001 and was appointed to a Heisenberg Senior Research fellowship. In 2004 and 2005 he was a visiting professor in Frankfurt, before being appointed at Bangor in 2005. In 2008, he was a Visiting Fellow at All Souls College, Oxford. His main areas of research are sacred music and musical sources of the 15th and 16th centuries and German music of the late 18th and 19th centuries (Mendelssohn and Mozart in particular). Recent publications include Die Sonate (2006; English translation as Cambridge Introduction to the Sonata to appear in 2010) and critical editions of Mendelssohn's 'Scottish' and 'Italian' Symphonies.

Board of Directors

Nicolas Bell is Curator of Music Manuscripts at the British Library. He has published studies of the Las Huelgas Codex, the principal Spanish source of early polyphonic music, and of British Library Royal MS 11 E XI, a volume of motets presented to Henry VIII. He is Secretary of the Henry Bradshaw Society (for the editing of rare liturgical texts) and book reviews editor for the journal Plainsong and Medieval Music.

Julia Craig-McFeely studied at Edinburgh University (BMus, MMus) with Michael Tilmouth, Kenneth Leighton and Peter Williams. She completed her DPhil on English Lute Manuscripts and Scribes 1530-1630 at the University of Oxford in 1994. After several years as a college lecturer at a number of Colleges she held a Junior Research Fellowship at St Anne's College. From 1996 she ran a successful freelance business typesetting music and text that had particular difficulties in layout or design (including transcribing and setting Donizetti's opera Elisabetta from his autograph, for the Royal Opera House, Covent Garden), and has since typeset a number of publications in musicology, including the award-winning Facsimile and introductory study of Bologna MS Q.15, by Margaret Bent. She continues her publishing activities as the principal member of the production team for DIAMM Publications. She has been the Project Manager of DIAMM since 1998 and a Director since 2007. She has published and lectured in Europe and the USA both about her research subjects and about the work of DIAMM, and in particular about creating high-quality images of archive documents and digital restoration. She has also lectured on intellectual property rights in relation to digital images. She is known internationally as an expert in archive-quality imaging of delicate documents, and consults to a number of organisations including the National Library of Ireland and the Israel Antiquities Authority. In 2008 she was one of the team of specialists who undertook the pilot project to digitize the Dead Sea Scrolls in Jerusalem.

Michael Scott Cuthbert (cuthbert[at]mit.edu) is Assistant Professor of Music at M.I.T. Cuthbert received his A.B. summa cum laude, A.M. and Ph.D. degrees from Harvard University. He spent 2004-05 at the American Academy as a Rome Prize winner in Medieval Studies and 2009-10 as Fellow at Harvard's Villa I Tatti Center for Italian Renaissance Studies in Florence. Prior to coming to M.I.T., Cuthbert was Visiting Assistant Professor on the faculties of Smith and Mount Holyoke Colleges. His teaching includes early music, early music, and music theory. Cuthbert has worked extensively on computer-aided musical analysis, fourteenth-century music, and the music of the past forty years. He is creator and principal investigator of the music21 project. He has lectured and published on fragments and palimpsests of the late Middle Ages, set analysis of Sub-Saharan African Rhythm, Minimalism, and the music of John Zorn. Cuthbert is writing a book on Italian sacred music from the arrival of the Black Death to the end of the Great Schism.

Helen Deeming is a Lecturer in Music at Royal Holloway, University of London. She is joint co-ordinator (with Ardis Butterfield) of the Medieval Song Network based at the Institute of Musical Research and was editor of the journal Plainsong and Medieval Music from 2006-2010. Her current research is centred on songs in English manuscripts of the twelfth and thirteenth centuries, and she is preparing an edition of these for the series Musica Britannica. Her monograph on miscellany manuscripts (both with and without music) is in press, and she has published articles on medieval song and its manuscript sources in Music and Letters, Early Music, Plainsong and Medieval Music and Scriptorium.

Theodor Dumitrescu is assistant professor of musicology at Utrecht University, where he directs the CMME Project for online publication of early music editions. He holds degrees in Computer Science (BA, Princeton University, 1999) and Musicology (D.Phil., University of Oxford, 2004) , and previously held research fellowships at the Centre d’Études Supérieures de la Renaissance (Tours) and Utrecht University. Presently he sits on the directorial board of the Netherlands’ royal musical association (KVNM) and advises numerous digital musicology initiatives. Dumitrescu’s research and publications center on history, analysis, and theory of European music c. 1500, as well as editorial technique and issues in digital publication. His books and editions include The Early Tudor Court and International Musical Relations (Ashgate, 2007); John Dygon’s Proportiones practicabiles secundum Gaffurium, (University of Illinois Press, 2006); The York Masses (Early English Church Music 52; Stainer and Bell, 2010); and The Occo Codex (CMME Project, 2008). Recent and forthcoming studies address subjects such as pitch and accidentals in late-medieval notation; attribution and compositional technique in the works of Regis and Obrecht; archival documentation on Prioris and the chapel singers of Louis XII of France; and the concept of materiality in digital publication.

Owen Rees specialises, in his research and performing activities, in music of the sixteenth century and the first half of the seventeenth—particularly Spanish, Portuguese, and English sacred repertories. He took his first degree and doctorate at Cambridge University, where he studied with Peter le Huray and Iain Fenlon. From 1989 to 1991 he was College Lecturer in music at St Peter's College and St Edmund Hall in Oxford, and from 1991 to 1997 taught within the Music Department at the University of Surrey. He is now Fellow in Music at The Queen’s College, Oxford, Senior Research Fellow at Somerville College, Oxford and a Reader in the Faculty of Music. He has published studies of the music of, for example, Cristóbal de Morales, Francisco Guerrero, and William Byrd, and of musical sources and repertories from Portugal and Spain. His first book, Polyphony in Portugal, was published by Garland, and he was co-editor (with Bernadette Nelson) of Cristóbal de Morales: Sources, Influences, Reception (Boydell). His work as a scholar regularly bears fruit in terms of performance and recordings (he conducts the A Capella Portuguesa, the Choir of The Queen’s College, Oxford, and the Cambridge Taverner Choir), including substantial repertories of Portuguese polyphony which were previously largely unknown.

International Advisory Board

Project Researcher and Outreach Research Co-ordinator

Intern 2009

Research Assistants

Principal technical advisor

Photographer

Imaging equipment technical support

Technical development: Centre for Computing in the Humanities, King’s College London