Jeanice Brooks

Primary position:
Head of Department
Other positions:


The University of Southampton

Jeanice Brooks is a cultural historian of music. She studied singing and music education in the US and in France before completing a PhD in musicology and French literature at the Catholic University of America. She taught at Georgetown University in Washington, DC, before coming to the University of Southampton.

Her doctoral dissertation treated musical settings of verse by the 16th-century poet Pierre de Ronsard, and since then she has continued to work on aspects of French music and culture in the Renaissance. She also has interests in 20th-century French music, and more generally in gender studies: her most recent book, The Musical Work of Nadia Boulanger: Performing Past and Future Between the Wars, uses the case of the famous French pedagogue to explore how modernist concepts of the musical work affected performance culture in the interwar period. Jeanice's research on women and song has led to new work on domestic music performance in Britain circa 1800, including projects in collaboration with the National Trust and other heritage bodies.

Jeanice's Courtly Song in Late Sixteenth-Century France (Chicago, 2000), a monograph on music and courtly ideologies in the Renaissance, won the 2001 Roland H Bainton prize for the best book of the year in music or art history. Her articles have appeared in the Journal of the American Musicological Society, Early Music History, Early Music, Revue de musicologie, Journal of the Royal Musical Association, and Revue belge de musicologie. From 1999-2004 she was co-editor of Music & Letters.


Professor Jeanice Brooks's photo



The Musical Work of Nadia Boulanger: Performing Past and Future Between the Wars (Cambridge: Cambridge University Press, 2013)

Courtly Song in Late Sixteenth-Century France (Chicago: University of Chicago Press, 2000).

Edited books

(Ed. with Philip Ford and Gillian Jondorf), Music and Poetry in the French Renaissance (Cambridge: Cambridge French Colloquia, 2001).

Editions of music

Motets de 1573 by Guillaume Boni (Tours: Centre de Musique Ancienne, 2000).

Chansons, odes et sonetz de Pierre Ronsard by Jean de Castro (Madison: A-R Editions, 1994).

(Ed. with Jean-Pierre Ouvrard), Chansons à quatre voix de François Regnard, Le Verger de Musique 2 (Tours: Centre de Musique Ancienne, 1993).

Articles and chapters

"Music and the court of the ancien régime," in The Cambridge Companion to Music in France, ed. Simon Tresize (Cambridge: Cambridge University Press, forthcoming).

“New Links Between Them: Modernist Historiographies and the Concerts of Nadia Boulanger,” in Crosscurrents: American and European Music in Interaction, 1900-2000, ed. Felix Meyer, Carol J. Oja, Wolfgang Rathert, and Anne C. Shreffler (Woodbridge: Boydell Press and the Paul Sacher Stiftung, in press).

“Le corps chantant: Erasme, Janequin, et l’obscénité à la Renaissance,” in Clément Janequin, un musicien parmi les poètes: Musique, voix et réalisme sonore à la Renaissance, ed. Olivier Halévy, Isabelle His and Jean Vignes (Paris: Société Française de Musicologie, 2013), 269-83.

“Performing Love: Songs and Sincerity in Early Modern Europe,” in Amor docet musicam: Musik und Liebe in der Frühen Neuzeit, ed. Dietrich Helms and Sabine Meine (Hildesheim: Olms, 2012), 143-56.

“Tessier’s Travels in England and Scotland,” Early Music 39 (2011): 185-94; and guest editorial to the issue, "Lost and Found" (co-authored with Melanie Marshall).

“Introduction: L’obscénité comme jeu de frontières” and “Singing the Courtly Body: The chanson lascive and the Performance of Obscenity,” in Obscénités renaissantes, ed. Hugh Roberts, Lise Wajeman and Guillaume Peureux (Geneva: Droz, 2011), 109-113 and 193-206.

“‘All you need is love’: Music, Romance and Adolescent Recreation in Sixteenth-Century France,” in Masculinities, Childhood, Violence: Attending to Early Modern Women—and Men, ed. Karen Nelson and Amy Leonard (Newark: University of Delaware Press, 2011), 169-94.

“Musical Monuments for the Country House: Music, Collection and Display at Tatton Park,” Music & Letters 91 (2010): 513-35.

“Collecting Past and Present: Music History and Musical Performance at Dumbarton Oaks,” in A Home of the Humanities: The Collecting and Patronage of Mildred and Robert Woods Bliss, ed. James Carder and Robert Nelson (Washington: Dumbarton Oaks, 2010), 74-91.

“Les collections féminines d’albums de partitions dans l’Angleterre au début du XIXe siècle,” in ‘La la la Maistre Henri’: Mélanges de musicologie offerts à Henri Vanhulst, ed. Christine Ballman and Valérie Dufour (Turnhout: Brepols, 2009), 351-365.

“Les écrits de Nadia Boulanger” in Les rencontres de Villecroze: Nadia et Lili Boulanger, ed. Alexandra Laederich (Lyon: Symétrie, 2007), 451-54.

“Music as Erotic Magic in a Renaissance Romance,” Renaissance Quarterly 60:4 (2007), 1207-56.

“La musique mesurée et le salon: modes d’éxécution, pratiques d’écoute” in Académies italiennes et françaises de la Renaissance: idéaux et pratiques, ed. Jean Vignes, Ginette Vagenheim, Perrine Galand-Hallyn and Marc Deramaix (Geneva: Droz, 2007), 541-49.

“L’art et la manière: ornementation et notation dans l’air de cour à la fin de la Renaissance” in Poésie, musique et société: l'air de cour en France au XVIIe siècle, ed. Georgie Durosoir (Liège: Mardaga/ Centre de Musique Baroque, 2006), 169-79.

“Chivalric Romance, Courtly Love and Courtly Song: Female Vocality and Feminine Desire in the World of Amadis de Gaule” in Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin LaMay (Aldershot: Ashgate, 2005), 63-96.

“Ritterroman und höfisches Lied. Die weibliche Stimme im französischen Salon des späten 16. Jahrhunderts,” Frauen und Musik im Europa des 16. Jahrhunderts, Trossinger Jahrbuch für Renaissancemusik 4 (Kassel: Bärenreiter, 2004), 91-114.

"La lecture des Airs de cour de Gabriel Bataille: la ‘nouvelle musique’ en France autour de 1600", in Lire à la Renaissance, ed. Jean Balsamo, La Lecture littéraire 7 (2003), 135-146.

“O quelle armonye: Dialogue Singing in Late Renaissance France,” Early Music History 22 (2003), 1-64.

“‘New Music’ in Renaissance France,” Gesang zur Laute, Trossinger Jahrbuch für Renaissancemusik 2 (Kassel: Bärenreiter, 2002 [2003]), 161-75.

(with Mark Everist) “Giacomo Meyerbeer’s Les Huguenots: Staging the History of the French Renaissance,” in The Renaissance in the Nineteenth Century/ Le XIXe siècle renaissant, ed. Yannick Portebois and Nicholas Terpstra (Toronto: Center for Renaissance and Reformation Studies, 2003), 121-42.

“From Minstrel to Courtier: The Royal Musique de Chambre and Courtly Ideals in Sixteenth-Century France,” Musikalischer Alltag im 15. und 16. Jahrhundert, Trossinger Jahrbuch für Renaissancemusik 1 (Kassel: Bärenreiter, 2001 [2002]), 39-49.

“The Art of Civil Conversation: Courtly Neoplatonism and the Dialogue Air,” in Music and Poetry in the French Renaissance, ed. Philip Ford, Gillian Jondorf and Jeanice Brooks (Cambridge: Cambridge French Colloquia, 2001), 159-84.

“Catherine de Médicis, nouvelle Artémise: Women’s Laments and the Virtue of Grief,” Early Music 27 (1999): 419-35.

“Professionalismus und öffentliche Karriere bei Frauen: Metaphern über Nadja Boulanger als Dirigentin,” in Professionalismus in der Musik, ed. Christian Kaden and Volker Kalisch, Musik-Kultur 5 (Essen: Blaue Eule, 1999), 252-60.

“Music and Devotion in Renaissance Toulouse: The Motets of Guillaume Boni,” in La musique de tous les passetemps le plus beau: Hommage à Jean-Michel Vaccaro, ed. François Lesure and Henri Vanhulst (Paris: Klincksieck, 1998), 17-31.

“A Singer’s Book in the British Library,” Early Music 26 (1998): 29-48.

“Mildred Bliss Tells Nadia Boulanger to Think of Herself For Once” in Women Patrons and Activists in American Music, ed. Cyrilla Barr and Ralph P. Locke (Berkeley: University of California Press, 1997), 209-13.

“Music by Jean de Castro in the Parisian Library of Justinien Pense,” Revue Belge de Musicologie/ Belgisch Tijdschrift voor Muziekwetenschap 50 (1996 [1997]): 25-34.

“Les Guises et l’air de cour: images musicales du prince guerrier” in Le mécénat et l’influence des Guises, ed. Yvonne Bellenger (Paris: Champion, 1997), 187-210.

“Italy, the Ancient World, and the French Musical Inheritance in the Sixteenth Century: Arcadelt and Clereau in the Service of the Guises,” Journal of the Royal Musical Association 121 (1996): 147-90.

“Bertrand, Boni, Ronsard and the Process of Revision,” in Claude Le Jeune et son temps, ed. Pierre Bonniffet and Marie-Thérèse Bouquet-Boyer (Bern: Peter Lang, 1996), 137-52.

“Noble et grande servante de la musique: Telling the Story of Nadia Boulanger’s Conducting Career,” Journal of Musicology 14 (1996): 92-116. (Reprint in Soziale Horizonte von Musik: Ein kommentiertes Lesebuch zur Musiksociologie, Bärenreiter-Studienbücher Musik, ed. Christian Kaden and Karsten Mackensen [Kassel: Bärenreiter, 2006], 70-91.)

“La Comtesse de Retz et l’air de cour des années 1570” in Le Concert des voix et des instruments à la Renaissance, ed. Jean-Michel Vaccaro (Paris: Editions du CNRS, 1995), 299-315.

“The Fonds Boulanger in the Bibliothèque Nationale,” Notes 51 (1995): 1227-37.

“Ronsard, the Lyric Sonnet, and the Late Sixteenth-Century Chanson,” Early Music History 13 (1994): 65-84.

“Nadia Boulanger and the Salon of the Princesse de Polignac,” Journal of the American Musicological Society 46 (1993): 415-68.

“Jean de Castro, the Pense Partbooks and Musical Culture in Sixteenth-Century Lyons,” Early Music History 11 (1992): 91-149.

“‘Ses Amours et les miennes tout ensemble’: La Structure cyclique du Premier livre des Amours d’Anthoine de Bertrand,” Revue de musicologie 74 (1988): 201-220.

“Influence italienne dans la chanson française des années 1570: Structure mélodique et pratique contrapuntique chez Anthoine de Bertrand,” Analyse musicale 13 (1988): 45-50.

Dictionaries, textbooks and encyclopedias

“France, 1560-1600” in European Music 1520-1640, ed. James Haar (Woodbridge: Boydell, 2006), 171-81.

Articles s.v. “Musique” and “Chant” in the Dictionnaire de Michel de Montaigne, ed. Philippe Desan (Paris: Champion, 2004).

Articles s.v. “Castro, Jean de”; “Clereau, Pierre”; “Courville, Joachim Thibault de” in Die Musik in Geschichte und Gegenwart, gen. ed. Ludwig Finscher, Personenteil, vol. 2 (Kassel: Bärenreiter, 2000).


“A Cornucopia of Chansons,” review of five editions of French secular music by Claude Le Jeune, Charles Tessier et al.; in Early Music 35 (2007), 303-305.

Christelle Cazaux, La musique à la cour de François I; in Music & Letters 85 (2004): 625-29.

“Renaissance Repertories,” compact discs by the Ensemble Clément Janequin and Capilla Flamenca et al.; in Early Music 29 (2001): 661-64.

“Sixteenth-Century French Secular Music,” compact discs by Virelai, Ensemble Doulce Mémoire, The King’s Noyse, Phalesius Project and the Newberry Consort; in Early Music 28 (2000): 133-37.

Adrian Le Roy, Psaumes de 1567, ed. Jean-Michel Noailly, and Claude Le Jeune, Cent cinquante pseaumes de David, ed. Anne Heider; in Notes 51 (1998), 984-87.

Frank Dobbins, Music in Renaissance Lyons; in The Times Literary Supplement 4649 (8 May 1992), 18.

Hildegard von Bingen, Symphonia harmoniae, ed. Peter van Poucke; Heinrich Isaac, Coralis constantinus, primus tomus, ed. Edward Lerner; and Adrian Willaert et al., Musicque de joye, ed. Samuel Pogue; in Early Music 20 (1992), 349-50.

CD and book reviews for Diapason: nos. 495 (Sept. 2002), 105; 498 (Dec. 2002), 108-9; 503 (May 2003), 120; 510 (Jan. 2004), 22; 513 (Apr. 2004), 115; 514 (May 2004),122.

Other publications

“In honour of François Lesure,” preface to Berlioz and Debussy: Sources, Contexts and Legacies, ed. Barbara Kelly and Kerry Murphy (Aldershot: Ashgate, 2007), xv-xix.

English translations of prefaces and critical notes to François Regnard, Intégrale des motets, 4 vols., ed. by Isabelle His, Jean-Pierre Ouvrard, Marc Desmet and Jean-Yves Hameline. (Paris and Tours: Salabert/ Centre de Musique Ancienne de Tours, 1995).

Liner notes to Harmonia Mundi CD HMC 901491, Chansons sur des poèmes de Ronsard by the Ensemble Clément Janequin (1994; features a number of previously unrecorded works in my editions).

English translations of song texts and composer’s preface to Jean de Castro, Opera omnia, vol. 1, Sonets, avec une chanson . . . livre premier (1592). Chansons, stanses, sonets, et epigrammes . . . livre second (1592) ed. Ignace Bossuyt (Leuven: Leuven University Press, 1993).



Research Interests

Jeanice's interests include music and culture in Renaissance France; Nadia Boulanger; song and gender.

Current projects include a forthcoming monograph, The Musical Work of Nadia Boulanger: Performing Past and Future Between the Wars (Cambridge University Press) examining Boulanger's concert career in the 1930s and its relationship to her teaching of analysis and history and to broader currents in French interwar culture. A longer-term project (provisionally entitled Silly Love Songs: Gender, Performance and Romance ) will investigate how song and romance have functioned to construct narratives of feminine identity in Western culture since 1500.

Affiliate research groups:  Musicology and Ethnomusicology, Music Performance Research

Research projects

The Austen Family Music Books

A major study of domestic music making in Jane Austen's family.


The recently concluded AHRC-EPSRC-JISC-funded 'musicSpace' project was an interdisciplinary collaboration between Music and Electronics and Computer Science.

At Home with Music: Domestic Music-Making in Georgian Britain

Before the advent of large concert halls, the way most people experienced music – as performers or listeners – was in domestic settings. And after the explosion of the British music printing trade in the late eighteenth century, a vast amount of sheet music was published for use by amateurs in the home. Yet today we know very little about how people made music behind closed doors. How did listening to and performing music help to construct individual and collective identities, and how did music shape contemporary understandings of home and domestic space?

Teaching Responsibilities

Jeanice's teaching at undergraduate level mainly involves early modern topics: a first-year core course, The Antique Music Roadshow, and more specialised year two/three modules (recent topics include Monteverdi; Chanson and Madrigal; and Music in Renaissance France). She teaches masters courses in research methodology and critical practice, and can supervise doctoral work in early modern topics, in 20th-century French music, on domestic music-making and in music and gender.


Professor Jeanice Brooks
Building 2
Department of Music
University of Southampton
SO17 1BJ

Room Number: 2/2007

Telephone: (023) 8059 2115
Facsimile: (023) 8059 3197