Mary Channen Caldwell
Mary Channen Caldwell’s research is on early vocal music, specifically song repertories in premodern Europe that explore the boundaries of sacred and secular. Her dissertation from 2013 examines sacred Latin refrain songs circa 1000-1582 and argues for the role of the largely clerical works within festive moments of the calendrical and church year (Advent, Christmas, the New Year, and Eastertide). Her current research continues to reveal intimate connections between sacred song collections of premodern Europe and overlapping temporal cycles (civic and religious), festive liturgies, and secular musical production. Current projects include a book-length study of seasonal refrains and refrain songs in medieval and renaissance repertories, exploring the intersection of sacred and secular calendrical cycles in music.
Caldwell received her PhD in Music History and Theory from the University of Chicago in 2013 and a Bachelor of Music degree from the School of Music at Queen’s University (Ontario, Canada) in 2006. Prior to her position at the University of Pennsylvania, she held Visiting Assistant Professorships at Williams College in Williamstown, Massachusetts (Autumn 2013) and at the University of Texas, Austin (Spring 2014), as well as an Assistant Professorship in Musicology at Wichita State University in Wichita, Kansas (2014-2015). Her teaching and research have been supported by the University of Chicago and the American Musicological Society; in 2012 she was awarded both the Stuart Tave Teaching Fellowship in the College from the University of Chicago and the Alvin H. Johnson American Musicological Society 50 Dissertation-Year Fellowship. Caldwell has presented at conferences in Canada, the United States, and Europe, including papers at the national meeting of the American Musicological Society (Autumn 2014) and the Medieval Academy of America (Spring 2015).
Recent publications include an article on the fourteenth-century Roman de Fauvel in Early Music History. She has forthcoming articles in an edited volume published by the Medieval Institute’s Early Drama, Art, and Music Monograph Series and in Plainsong & Medieval Music.
“‘And when they heard the name Nicholas…’: New Songs for St. Nick.” Panel: Saints in Song and Vitae: Exploring the Construction of Saints’ Cults circa 800 to 1400, Medieval Academy of America Annual Meeting. University of Notre Dame, March 13, 2015.
“Performing Learning: Grammar, Theology, and Singing in the Middle Ages.” AMS/SMT Annual Meeting, Milwaukee, Wisconsin, November 8, 2014.
“Marking It Off: Signaling Repetition and Signifying Orality in Medieval Song.” AMS-Southwest Spring Chapter Meeting, University of Texas, Austin, April 5, 2014.
“‘Pax Gallie’: The Latin Songs of Tours 927.” International Congress on Medieval Studies, Kalamazoo, Michigan, May 9, 2013.
“Cantate Domino canticum novum: Monophony, Polyphony, and the ‘New Song’ during the Gothic Age.” The Gothic Revolution: Music in Western Europe, 1100-1300, Princeton University, Princeton, New Jersey, November 4, 2011.
"Ad Repetendum: Repetition and Reiteration in Latin Lyrics.” Medieval and Renaissance Music Conference, Institut d’Estudis Catalans (IEC) and Consejo Superior de Investigaciones Científicas Institució Milà i Fontanals, Barcelona, Spain, July 6, 2011.
“A Medieval Patchwork Song: Poetry, Prayer, and Music in a Thirteenth-Century Conductus.” Plainsong & Medieval Music (forthcoming 2016).
“‘Pax Gallie’: The Songs of Tours 927.” In The Jeu d’Adam: MS Tours 927 and the Provenance of the Play, edited by Christophe Chaguinian. Early Drama, Art, and Music Monograph Series. Kalamazoo: Medieval Institute Publications (forthcoming 2015).
“‘Flower of The Lily’: Late-Medieval Religious and Heraldic Symbolism in Paris, Bibliothèque Nationale de France, MS français 146.” Early Music History 33 (2014): 1-60.