CURRICULUM
VITAE CURRICULUM
VITAESandra Pinegar
School of Music
The University of Georgia
(706) 542-2783
spinegar@uga.cc.uga.edu
Review of Rupert T. Pickens, ed. Studies in Honor of Hans-Erich Keller: Medieval French and Occitan Literature and Romance Linguistics. Kalamazoo: Medieval Institute Publications, 1993. In Tenso 12.1 (1996): 33-5. (invited review of 1,000 words)
Review of Robin Headlam Wells, Elizabethan Mythologies: Studies in Poetry, Drama and Music. Cambridge: Cambridge University Press, 1994. In The Renaissance Quarterly 49.2 (1996): 409-10. (invited review of 600 words)
Review of Ronald Woodley, John Tucke: A Case Study in Early Tudor Music Theory. Oxford: Clarendon Press, 1993. In The Renaissance Quarterly 49.2 (1996): 447-8. (invited review of 600 words)
Fifteen entries in Medieval France: An Encyclopedia, ed. William W. Kibler. New York: Garland, 1995. (including "Conductus," "Motet," "Léonin," and "Pérotin")
"On Rhythmic Modes." Theoria 8 (1994): 73-112. ( primarily a didactic and interpretive article that should prove to be a resource for scholars in their own research into the "measurable music" of the 13th century; Theoria is a juried publication)
"Communication." Current Musicology 55 (1993): 121-23, and 59 (1994): 199-204. (responses to Paula Higgins regarding "The 'Seeds of Notation' and Music Paleography.")
"The 'Seeds of Notation' and Music Paleography." Current Musicology 53 (1993): 99-108. (a critical essay concerning the function of music paleography within the graduate curriculum, which recently has been subject to re-evaluation at many universities)
"Exploring the Margins: A Second Source for Anonymous 7." Journal of Musicological Research 12/3 (1992): 213-43. (a research paper presenting new evidence regarding a 13th-century manuscript; JMR is a juried publication)
Review Essay of De Musica Mensurata: The Anonymous of St. Emmeram, ed. Jeremy Yudkin. Bloomington and Indianapolis: Indiana University Press, 1990. Current Musicology 50 (Spring, 1992): 62-76. (an evaluation of a new critical edition; incorporates original research)
"Textual and Conceptual Relationships Among Theoretical Writings on Measurable Music During the Thirteenth and Early Fourteenth Centuries." Ph.D. dissertation, Columbia University, 1991. (UM Publication no. 9210251) (see attached abstract)
Reviews of Opera and Vivaldi, Michael B. Collins and Elise K. Kirk eds., and "Crosscurrents and the Mainstream of Italian Serious Opera, 1730-1790, A Symposium, February 11-13, 1982," Studies in Music from the University of Western Ontario in Current Musicology 37/38 (1984), 214-21. (reviews of articles presenting research on Baroque vocal ornamentation, 17th-century opera houses, costuming, and journals, the Metastasian libretto, and the contemporary staging and performance of Baroque opera)
"Perspective on the Musical Essays of Lorenz Christoph Mizler (1711-1778)," MA thesis, North Texas State University, 1984. (UMI Publication no. AAC1323637)
"Musical Courtesy in the Period of Des Minnesangs Frühling." forthcoming in Austria 996-1996: Music in a Changing Society, International Conference Ottawa, Canada 2-7 January 1996.
Review of Mark Everist. French Motets in the Thirteenth Century: Music, Poetry and Genre. Cambridge: Cambridge University Press, 1994. forthcoming in Journal of the American Musicological Society 49 (1996). (invited review of 2,500 words)
"Lambertus (Aristoteles)." (an article based on archival research that suggests two possible candidates for the identity of the music theorist known as Lambertus or Aristoteles who flourished in the 1270s)
Modus and Figura: The Practice and Science of Measurable Music. (monograph based upon the dissertation)
Whiting Fellowship for Excellence in the Humanities, 1990-91.
"Musical Courtesy in the Period of Des Minnesangs Frühling," Session VIII-P3, Austria 996-1996: Music in a Changing Society, International Conference Ottawa, Canada, 2-7 January 1996.
"Between Pope and Monarch: A Return to the Dating of Pérotin's organa quadrupla," American Musicological Society National Meeting, Minneapolis, October, 1994.
"A 'New Philology' for Medieval Theory," American Musicological Society National Meeting, Chicago, November 7, 1991.
"Magister Lambertus and his Fifth Rhythmic Mode," Society for Music Theory National Conference, Cincinnati, November 1, 1991.
"Disputation and the St. Emmeram Treatise," Colloquium at Columbia University, April 7, 1989.
"Mozart's String Quartet in G Major, K. 387," Meeting of the Southwest Chapter of the American Musicological Society, Baylor University, April, 1983.
"Structure and Tonality in Wotan's Farewell," Meeting of the Southwest Chapter of the American Musicological Society, October, 1983.
Lecture on the Musical Style of Pérotin at The Ohio State University, April 5, 1995.
Lecture on Thirteenth Century Theory and Notation at Columbia University, April, 1994.
Member of the Editorial Board of Current Musicology, 1985-95.
Member of the Editorial Advisory Committee of Thesaurus Musicarum Latinarum, 1990-96.
Lecture on the Rossi Manuscript and its Repertory at Sarah Lawrence College, March, 1987.
"Program Notes" for the North Texas State University Symphony Orchestra, 1983-84.
American Musicological Society
Society for Music Theory
The Renaissance Society of America
English (native), Latin (excellent), French (excellent), German (good), Spanish (good), Portuguese (fair), Mittelhochdeutsch (fair)
Summer Institute, Mozarteum, Salzburg, Austria, 1977.
Oporto, Portugal, 1976-78, Studies with Helena Moreira de Sà e Costa.
Texas Christian University, Studies with Luiz Castro and Lili Kraus, 1970-75.
Cursos Musicais Internaçionais de Ferias da Costa do Sol, Estoril, Portugal, 1973.
Aspen Summer Music Festival, 1968.
Director of the Collegium musicum at the University of Georgia, 1996.
Music Producer, Conductor, and Narrator for "Saints and Sinners," performed by the Collegium musicum of Columbia University, March 11 and 12, 1990.
Member of the Collegium musicum of Columbia University, 1984-91.
Graduate Committee for M.A. at the University of Georgia, 1996.
Co-ordinator of Events for Residency of Joel Cohen and Anne Azéma at the University of Georgia, March 4-8, 1996.
Library Specialist, Supervisor, Columbia University, 1989-90.
Associate Producer of "Music from North Texas State University" aired monthly by WRR-FM, Dallas, Texas, 1983-84.
Library Assistant, Music Library, North Texas State University, 1981-1984.
Textual and Conceptual Relationships Among Theoretical Writings on Measurable Music During the Thirteenth and Early Fourteenth Centuries
Theoretical writings about rhythmic measure in polyphony that date from the thirteenth century are pivotal to establishing a history of music during this formative era. Temporal measure, polyphonic composition, and a system of written symbols by which to transmit a musical work form a matrix that is the basis of music in the Western tradition. It was during the thirteenth century that these elements came together in such a way as to establish a concept of music that differed significantly from any preceding.
The primary locus for development of theories of rhythmic measure was Paris, and the practice may have arisen from the liturgy for the Cathedral of Notre Dame during the last two decades of the twelfth century. A historical shift occurred during the 1270s when the theory of measure in music was taken up by the university community, which brought to bear upon it concepts and methods derived from other disciplines of the liberal arts, primarily logic, geometry, grammar, and rhetoric. This change is manifest in definitions given to fundamental precepts, organization of treatises, intrusion of a more refined vocabulary, and, in certain treatises, an incursion of learned, literary references. In contrast, the theoretical writings dealing with measure in music before the 1270s emerge as a fragmentary surface of what may have been primarily an oral teaching tradition.
The focus of this dissertation has been on close paleographic and codicological examination of individual primary sources using principles of textual criticism for comparison, identifying the nature and purpose of the transmission of these texts, and exploration of the context of these treatises leading to a consideration of the broader range of the intellectual history of the thirteenth century. I have sought to define the fundamental differences between a medieval text and the modern concept of text, the codicological and internal characteristics that identify a text as one belonging to a university environment or a monastic tradition, the properties and traits that identify the nature of discourse as didactic, speculative, prescriptive, or descriptive, and the elements that mark a text as essentially secondary and receptive or as original and authoritative.
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