- Primary position:
- Professor of Music
Mark Everist's research focuses on the music of western Europe in the period 1150-1330, French 19th-century stage music between the Restoration and the Commune, Mozart, reception theory, and historiography. He is the author of Polyphonic Music in Thirteenth-Century France (1989), French Motets in the Thirteenth Century (1994), Music Drama at the Paris Odéon, 1824-1828 (2002), Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (2005), and Mozart's Ghosts: Haunting the Halls of Musical Culture (2012), as well as editor of three volumes of the Magnus Liber Organi for Editions de l'Oiseau-Lyre (2001-2003) and six collections of essays.
Mark taught at King's College London (1982-1996), and is now Professor of Music at the University of Southampton, where he was Head of Music from 1997-2001, and again from 2006-2010. In 2010, he was appointed Associate Dean (Research) in the Faculty of Humanities and Director of the Humanities Graduate School. He teaches undergraduate courses on the middle ages, the 18th and 19th centuries, and masters courses on research methods and critical practice. His PhD supervision encompasses dissertations on early 19th century French opera, 15th-century mass composition, Sibelius, Verdi, the Notre-Dame conductus, organum and the 13th-century motet.
He has published in Journal of the American Musicological Society, Journal of the Royal Musical Association, Revue de Musicologie, Revue Belge de Musicologie, 19th-Century Music, Early Music History, Cambridge Opera Journal, Acta Musicologica, Plainsong and Medieval Music, Music & Letters, Journal of Musicology and elsewhere. He was editor of the Journal of the Royal Musical Association from 1990-1994, continues to serve as a member of its editorial board, and was the editor of the Royal Musical Association's monographs series from 1995-2011. A member of the Arts and Humanities Research Council's Advanced Research Panel 7 (Music and Performing Arts) from 2001 to 2005, he is now a member of its Peer Review College. He was an institutional auditor for the Quality Assurance Agency from 2002-2005, and was chair and leader for research of the committee of the National Association for Music in Higher Education from 2004 to 2008. A recipient of publication prizes from the American Musicological Society in consecutive years (2010 and 2011), he is a fellow of the Academia Europaea, and President of the Royal Musical Association.
Mark's interests include polyphonic music 1150-1350; opera in 19th-century France; Mozart reception.
Projects marked * are largely complete.
The variable-voice conductus. The conductus repertory consists of around 180 two-part compositions and around 110 in three parts. Within these figures are hidden a group of five compositions that are characterised by the presence of both two-part and three-part writing in the same work. Of the three stanzas that make up the poetry of each of these five conducti, usually the first two are set in three voices the third in two. In the manuscript Wolfenbüttel, Herzog-August-Bibliothek 628, the five works are presented in a unified manner whereas in Florence, Biblioteca Medicea-Laurenzia Plut. 29.1 the three part sections are found in the fascicle of the manuscript dedicated to three-part conducti whereas the two-part sections are found among the manuscript’ collection of two-part works, but with clear cues that link the two parts together; other sources preserve different configurations of poetry and music.
This group of compositions poses a number of questions. Although it is clear that in some sources what might be called the ‘variable-voice conductus’ was conceived as a unified whole and copied as such, it is not clear whether setting the poem in two and three parts was part of the original concept of the work, nor is it clear whether the poetry even was conceived in the form in which it is used in the surviving musical sources. A final question is the degree to which the five pieces were conceived as a coherent group.
Examination of the thematic and structural nature of the poetry, the musical form of the works and their transmission reveals a much wider range of practices in the variable-voice conductus than their careful grouping in the Wolfenbüttel and Florence manuscripts suggests. Email Mark if you would like access to a copy of the current version of this piece of work.
Castil-Blaze et la réception de Weber, 1824-1857. François-Henri-Joseph Blaze fut connu comme Castil-Blaze durant toute sa vie professionnelle. Il fut un acteur majeur de la scène de la musique parisienne pendant la Restauration, la Monarchie de Juillet et la première moitié du Second Empire. Il écrivait sur la musique, il était journaliste, éditeur, et un agent essentiel dans l’importation et l’assimilation de l’opéra allemand et italien dans les cercles musicaux à la fois parisiens et provinciaux. Durant de sa vie, il fut respecté et son œuvre fut appréciée et comprise. En grande partie à cause des commentaires excessifs des Mémoires de Berlioz, il en est venu à se faire rabaisser par ceux qui échouent – ou se refusent – à comprendre la culture de l’opéra français du début du dix-neuvième siècle. Et les choses ont commencé à changer : son journalisme est à présent compris comme les premières tentatives d’un discours sophistiqué sur la musique, sa relation avec Berlioz est étudiée de plus près, et son œuvre sur la naturalisation de l’opéra étranger est aujourd’hui lue selon une perspective qui prend plus sérieusement en compte la complexité de la France du début du dix-neuvième siècle. Castil-Blaze était un acteur important et intelligent dans l’importation de l’opéra italien et surtout allemand dans les cercles du théâtre parisien ainsi que ceux de la province. Sa production de Robin des bois en 1824 mit Weber en vedette et servirait de précédent pour les productions ultérieures à l’Opéra-Comique et – malgré l’existence de l’arrangement de Berlioz – au Théâtre-Lyrique. Dans ses essais critiques, il ne fut pas seulement l’ardent défenseur des œuvres de Weber, mais aussi un interlocuteur important entre Weber et son public parisien ; son œuvre critique fut un vecteur important de la mise en valeur de son œuvre comme arrangeur de la « naturalisation » de Weber dans les cercles francophones. Email Mark if you would like access to a copy of the current version of this piece of work.
Choriste, danseur, comparse: Dance and Movement in opéra comique during the July Monarchy and Second Empire. This paper focuses on a single question: what was the place of dance in Parisian opéra comique around the middle of the nineteenth century? The answer to many – or indeed to anyone well versed in the secondary literature – will be simple: there was none, and in this mixture of speech and song, it could hardly be otherwise. In comparison with the Opéra, where danses nobles et gracieuses were a generic obligation, and had been for centuries, the Opéra-Comique not only had no such obligation, but there simply never seems to be any mention of movement that could realistically be considered dance.
Wagner and Paris: The Case of Rienzi (1869). The French reception of Wagner is often based on the two pillars of the 1861 Tannhaüser production and that of Lohengrin in 1891. Sufficient is now known about he composer’s earliest attempt to engage with Parisian music drama around 1840 to be able to understand his work on Das Liebesverbot, Rienzi, Der fliegende Holländer, his editorial and journalistic work for Schlesinger, and his emerging relationship with key figures in Parisian musical life, Meyerbeer most notably. A clearer picture is also beginning to emerge of Wagner’s position in French cultural life and letters in the 1850s. There is little, so it would also seem, that is left to learn about the Tannhaüser production of 1861.
Wagner’s position in Paris during the 1860s, culminating in the production of Rienzi at the Théâtre-Lyrique in 1869, is however complex, multifaceted and little understood. Although there were no staged versions of his operas between 1861 and 1869, the very existence of a successful Parisian premiere for an opera by Wagner in 1869 – given that there would be almost nothing for two decades after 1870 – is remarkable in itself. The 1860s furthermore saw the emergence of a coherent voice of Wagnérisme, the presence of French Wagnéristes at the composer’s premieres all over Europe and a developing discourse in French around them. This may be set against a continuing tradition of performing extracts of Wagner’s operas throughout the 1860s, largely through the energies of Jules Pasdeloup, who – as director of the Théâtre-Lyrique – was responsible for the 1869 Rienzi as well.
These competing threads in the skein of Wagner-reception in the 1860s are tangled in a narrative of increasingly tense Franco-German cultural and political relationships in which Wagner, his works and his writings, played a key role. The performance of Rienzi in 1869 was a response to the Prussian-Austrian war of 1866, the republication of Das Judenthum in der Musik in 1869 and the beginnings of the Franco-Prussian war. Email Mark if you would like access to a copy of the current version of this piece of work.
Vernacular Contexts for the Monophonic Motet. Adam de la Halle’s three-part rondeaux are important landmarks on the map of late thirteenth-century polyphony. Copied in the manuscript, Paris, Bibliothèque nationale de France, fonds français (F-Pn fr.) 25566, they have concordances in the manuscript F-Pn fr. 12786 where the texts are supplied with space left for notation that was never executed. Just ahead of these rondeau texts in F-Pn fr. 12786 are six texts, also provided with space for notation that was never executed. Two of these texts are taken from motets well known from the larger motet manuscripts of the thirteenth century, one from the manuscript Oxford, Bodleian Library, Douce 308, while the remaining three are unica.
The recent discovery of the second of these unicum texts, ‘[En demorant] veuil mon chant’ on a flyleaf to a fifteenth-century Book of Hours in Charleville-Mezières, Bibliothèque municipale 78, supplies notation for this otherwise silent song. Furthermore, the notation is fully mensural with longae and breves differentiated, and permits a partial and partially-conjectural transcription. Not only does this new fragment help explain the six poems that precede the texts of Adam’s rondeaux, but they throw further light on the question of the mensural notation of vernacular monody raised by the Chansonnier Cangé (F-Pn fr. 846). Email Mark if you would like access to a copy of the current version of this piece of work.
Master and Disciple: Teaching the Composition of Polyphony in the Thirteenth Century. Discoveries of new sources of medieval polyphonic music regularly provoke interest, but frequently could offer more to our understanding of music in the period between 1150 and 1350. Newly discovered manuscript fragments often preserve works that are already known, and while they may add grist to the mill of studies of Überlieferung or sometimes open up new sites of cultivation for the conductus, organum or motet, they do not really challenge fundamental questions of how music was created, received or preserved. So it is a welcome change to be able to report on a newly discovered source that raises questions that strike at the heart of our understanding of much of the music of the thirteenth century. An unassuming flyleaf at the beginning of a copy of Augustine’s Confessions in the manuscript Reims, Bibliothèque municipale 400 (hereafter F-RS 400) invites us to reconsider questions that invoke the oppositions between plainsong and polyphony, between the organised and the improvised, between literate and oral, between reading and memory, and even poses some questions about the birth of the motet. Email Mark if you would like access to a copy of the current version of this piece of work.
Rossini, Giovanni Tadolini and the Operas of the 1810s. Giovanni Tadolini is known by Rossini scholars as the composer who completed the Stabat Mater in 1831. Trained in Bologna, Tadolini spent much of his professional career in Paris, but worked in Italy (Venice, Bologna and Rome) from 1814 until his return to Paris in 1830 where he was directeur de la musique at the Théâtre Italien.
In 2008, Arrigo Quattrochi noted that Tadolini was in Naples in October 1819 and wondered if he might be the composer for the Duglas aria and the recitative in La donna del lago, as well as therefore the collaborator on Edipo Coloneo and Adina. Subsequent research on Tadolini’s surviving musical autographs turned up a number of documents in Paris which for the first time enabled a systematic comparison between Tadolini’s handwriting and Rossini’s collaborator in La donna del lago, Edipo Coloneo and Adina. A systematic analysis reveals that the similarities between Tadolini’s handwriting and those of Rossini’s collaborator are not close enough to identify Tadolini as Rossini’s collaborator.
However negative this result, the research on Tadolini’s handwriting produced an unexpected further link between Rossini and Tadolini. Hiding under a faulty identification in the Bibliothèque nationale de France is an aria written at least in part by Tadolini for a production of Rossini’s Il turco in Italia in 1841 in Paris. Clearly designed as an attempt to end the opera with an aria for Fanny Persiani, ‘Cedi alfin te ne sconguiro’ is a three-movement aria of some ambition that deserves to be understood as a key element of Rossini reception in the 1840s. Email Mark if you would like access to a copy of the current version of this piece of work.
The Emergence of Polyphonic Song. Medieval music would appear to map out the boundaries of secular song either side of 1300: vernacular monody in the thirteenth century and polyphonic song in the fourteenth. But such a view of subject barely begins to take account of the complexity of musical and poetic continuity and change in the period between c1270 and c1330, the time so frequently circumscribed as falling between the polyphonic rondeaux of Adam de la Halle and the secular output of Guillaume de Machaut. This chapter attempts to bring together material germane to the state of polyphonic song thirty years either side of 1300, and to propose ways in which it might be interpreted. Email Mark if you would like access to a copy of the current version of this piece of work.
Rehearsing grand opéra: conditions and contexts, Paris 1780-1850. Recent studies have considered piano-vocal arrangements and two-hand versions of opera an important part of their reception, focussing on and rightly stressing their importance for domestic consumption. This chapter considers the importance of individual published numbers used for the purposes of rehearsal. For opéra comique, this was largely unproblematic since published vocal extracts largely included all the music with the rest recoverable from the printed libretto. The case of grand opéra was much less clear since published extracts frequently excluded recitatives that could involve some of the most taxing moments in the work. The solutions frequently involved compiling rehearsal volumes from published extracts and handwritten copies of those parts of the recitative that were relevant. The result was a striking collision of print and manuscript cultures created by a mismatch between musical practices and publishing traditions. The issues are clarified by an examination of surviving volumes with a case study based around Halévy’s La juive (1835) and Charles VI (1843), and Flotow’s L’âme en peine (1846) as rehearsed by the artist who took the roles of Eudoxie, Isabelle de Barrière and Paola sometime in the late 1840s or early 1850s. Email Mark if you would like access to a copy of the current version of this piece of work.
Meyerbeer and The Hound of the Baskervilles *Taking the final scene of Conan Doyle’s The Hound of the Baskervilles as its starting point, this article looks at the ways in which act iv of Meyerbeer’s Les Huguenots was projected across a range of media in the second half of the 19th century. Case studies include Wagner’s consistent view of the subject in the context of a rapidly changing view of Meyerbeer's work in general, Offenbach’s parody of the ‘Blessing of the Daggers’, Jules Verne’s re-inscription of the entire act in Une Fantaisie du Docteur Ox and Liszt’s two versions of his Reminiscences des Huguenots. The case studies are sited in the context of contemporary theories of metaphor and reception. Email Mark if you would like access to a copy of the current version of this piece of work.
Liszt in Southampton: the Grande Valse di bravura (S209) and the Valse de bravoure (S214/1) Just before his concert tour on the South Coast in August-September 1840, Franz Liszt wrote out an extract from the reworked version of the Grande Valse di bravura (S209). The autograph, now in private hands, represents a critically early stage in the revision of the work that would eventually result in the Valse de bravoure (S214/1). The compositional history of the work raises issues of virtuosity, textual consistency and the status of the Albumblatt and Zwischenstufe.
The Music of Power: Parisian Opera and the Politics of Genre, 1806-1864 *Music for the stage has always been embedded in a network of power relationships between states, impresarios, librettists, artists, entrepreneurs and composers. This article seeks to understand and explain how these relationships functioned in a particularly well-documented domain: the period when French music drama was subject to a system of licences, 1806-1864. The project examines institutional structures and their relationship both to those responsible for the creation and cultivation of stage music in the period and to the structure and form of the resulting works themselves. Email Mark if you would like access to a copy of the current version of this piece of work.
The Cambridge History of Medieval Music (joint editor; under contract)
Edition of Franz Liszt, Dom Sanche, ou Le Château d’Amour for the series F. Liszt: Neue Ausgabe sämtlicher Werke
Edition of Giuseppe Verdi, Les vepres siciliennes for the series The Works of Giuseppe Verdi (Chicago: Chicago University Press)
The aim of this AHRC-funded project is to place the conductus of the period c 1170 to c 1320 on the same footing as its two partner genres, the motet and organum.
Of the three principal genres of polyphonic music that dominated the high middle ages, organum and motet have claimed the attention of scholarship since the very beginning of the twentieth century. The third principal genre, the conductus has only recently been brought into an equivalent focus through an AHRC research grant ‘Cantum pulcriorem invenire: Medieval Latin Poetry and Song’. Many questions remain yet unresolved. The most pressing of these is the function and context of this extraordinary repertory of polyphonic song.
‘Cantum pulcriorem invenire - Thirteenth-Century Latin Poetry and Music: Workshop, Performance and Impact’ (CPI-III) engages communities with the thirteenth-century polyphonic and monophonic Latin song called conductus. It seeks to achieve this aim through a programme of twelve events, each consisting of a workshop and concert in twelve different venues in Europe and the UK.
‘Francophone Music Criticism’ is an international network of nearly 100 scholars that was originally funded by the AHRC, and sustained by grants from the University of Southampton and the School of Advanced Study, University of London.
This AHRC-EPSRC-JISC-funded project was an interdisciplinary collaboration between Music and Electronics and Computer Science that employed Semantic Web technologies to develop tools to integrate and enhance musicological metadata.
This project, funded by the AHRB, examined the ways in which Mozart's operas were reworked for keyboard from their dates of premiere to the present.
PhD DISSERTATION SUPERVISION
Andrew Kirkman, ‘Three-part Masses in the later 15th century’ (PhD diss., King’s College London, 1993) [final year only]
Nicola Losseff, ‘The Best Concords: Polyphonic Music in Thirteenth-Century Britain’ (PhD diss., King’s College London, 1994) [all but final year]
Michael Allis, ‘Charles Hubert Parry: Sources of the Music’ (PhD diss., King’s College London, 1995)
Sarah Hibberd, ‘Magnetism, Muteness, Magic: Spectacle and the Parisian Lyric Stage c1830’ (PhD diss., University of Southampton, 1998)
John Drysdale, ‘Louis Véron and the Finances of the Académie Royale de Musique, 1827-1835’ (PhD diss., University of Southampton, 2000)
Bethany Lowe, ‘Performance, Analysis and Interpretation in Sibelius’s Fifth Symphony’ (PhD diss., University of Southampton, 2001)
Marian Read, ‘Verdi’s Un ballo in maschera: an Approach through Mikhail Bakhtin’s Theory of Carnival’ (PhD diss., University of Southampton, 2004)
Gaël Saint-Cricq, ‘The Thirteenth-Century Motet: Analysis, Structure and Meaning’ (PhD diss. University of Southampton, 2010)
Candida Mantica, ‘Donizetti’s L’ange de Nisida: Institution, Reconstruction and Performance’ (PhD diss. University of Southampton, in progress)
Francesca Placanica, ‘Mercadante’s Il reggente’ (PhD diss. University of Southampton, in progress)
Helen Macfarlane, ‘French Romance by Italian Composers, 1800-1850’ (PhD diss. University of Southampton, in progress)
Amy Williamson, ‘English Polphonic Music c1300’ (PhD diss. University of Southampton, in progress)
Eva Maschke, ‘Style and Transmission in Notre-Dame Polyphony’ (PhD diss. University of Southampton, in progress)
Jacopo Mazzeo, ‘Function and Meaning in the Thirteenth-Century Conductus’ (PhD diss. University of Southampton, in progress)
Asher Yampolsky, ‘Structure and Form in Two-Part Notre-Dame Organum’ (PhD diss. University of Southampton, in progress)
University of Reading 1988-1989
Dartmouth College 1990
École Normale Supérieure, Paris [Conservatoire, École Pratique des Hautes Études, Université de Tours], 1990-1991
Conservatoire Nationale Supérieur de Paris, October-November 2002 ; September 2004-January 2005
Distinguished Visiting Professor, University of Western Australia, July-August 2004
University of Melbourne, August 2004
Trinity College, Dublin, November 2005
Ecole Normale Supérieure - Lettres et Sciences Humaines, Lyon, December 2006
MacGeorge Fellow, University of Melbourne, July-September 2009
University of Sydney, August 2009
Member of Council, Plainsong and Mediaeval Music Society (1988-1990).
Member of Publications Subcommittee, Plainsong and Mediaeval Music Society (1988-1990).
Corresponding Editor, Current Musicology.
Music Contributor, International Medieval Bibliography (1986-1992).
Organiser and session chair, 14th Annual Conference on Medieval and Renaissance Music, London, 15-18th August, 1986.
Organiser, 22nd Annual Conference of Music Research Students, King’s College London, 16-19 December, 1988.
Editor, Journal of the Royal Musical Association (1990-1994).
Member of Council, Publications Committee, Proceedings Committee of the Royal Musical Association (1990-94).
Joint Coordinator, RMA/SotoMAC 93 Conference, University of Southampton, 26-28 March, 1993.
Session Respondent, Annual Meeting of American Musicological Society, Montréal, 4-6 November 1993.
Teaching Quality Assessment subject Assessor, 1994-95
Joint Coordinator, RMA One-Day Conference on Reception Theory and Music, King’s College London, 5 February 1994.
Editor, Royal Musical Association Monographs series, 1995-
Chair, Royal Musical Association Proceedings Committee, 1995-99
Coordinator and Chair of Programme Committee, British Musicology Conference 1996, King’s College London, April 1996.
Member of Jury international, Fondation Internationale Nadia et Lili Boulanger, February-September 1998
Coordinator and Chair of Programme Committee, PERFORMANCE 2000: 35 th Annual Conference of the Royal Musical Association, University of Southampton, 26-29 April 2000.
Member of comité scientifique, La Traduction des livrets: aspects théoriques, historiques et pragmatiques, Université de Paris IV (Sorbonne), November-December 2000
Member of comité scientifique, Vincenzo Bellini et la France, Université de Paris IV (Sorbonne), November 2001
Member of Arts and Humanities Research Board Research Panel 7 (Music and Performing Arts), 2001- 5
Quality Assurance Agency Institutional Auditor, 2002-2005
Member of Committee of National Association of Music in Higher Education (leader on research), 2002-2007; chair and leader on research, 2005-7
Member of Arts and Humanities Research Council (AHRC) Peer Review College, November 2006-
Member of Honorary Board of the Edizione critica delle opere di Gioachino Rossini, November 2006-
Co-director of AHRC Network 'Francophone Music Criticism, 1789-1914' (with Institute of Musical Research, University of London), November 2006-
Member of Editorial Advisory Boad, Lyrebird Press (successor to Éditions de l’Oiseau-Lyre), February 2007-
Member of awards panel for Palisca Prize, American Musicological Society, February 2007-October 2010
Member of comité scientifique, Colloque : François-Auguste Gevaert, Université Libre de Bruxelles, December 2008
Member of Editorial Board, Musica disciplina, December 2008-
Member of Advisory Panel, GroveOnline, May 2009-
European Science Foundation Peer Reviewer, May 2009-
Royal Musical Association Publications Committee, Chair, January 2010-November 2011
Programme Committee Chair, Biennial Conference on Nineteenth-Century Music, Southampton, July 2010
Royal Musical Association, President-Elect, November 2010-2011
Royal Musical Association, President, September 2011-August 2014
Fonds de la Recherche Scientifique [Belgium], Peer Reviewer, March 2012-
Agenzia Nazionale di Valutazione del sistema Universitario e della Ricerca [Italy], Peer Reviewer, August 2012-
Academia Europaea, Fellow, September 2012-
Agence nationale de la recherche, La création : acteurs, objets, contextes - Édition 2008: Colloque bilan et perspectives, formal respondent, October 2012
Czech Science Foundation, Peer Reviewer, October 2012-
Förderung der wissenschaftlichen Forschung [Austria], Peer Reviewer, November 2012-
Humanities in the European Research Area, Peer Reviewer, December 2012-
Programme Committee Member, American Musicological Society Annual Meeting, Pittsburgh, November 2013
Swiss National Science Foundation, Peer Reviewer, April 2013-
Member of Comité de Lecture, Revue de musicologie, June 2013-
Senior Scholarship, Keble College Oxford. October 1981
Senior Germaine Scholarship, Brasenose College Oxford. October 1982 (declined)
Fulford Research Fellowship, St Anne's College Oxford. October 1982 (proxime accessit)
University of London Central Research Fund Grant. March-April 1983
British Academy Research Grant. September 1986
British Academy Overseas Conference Grant. January 1988
Music and Letters Grant. January 1988
Westrup Prize (best article published in Music and Letters 1988). March 1989
King's College School of Humanities Research Grant. February 1990
British Academy Overseas Conference Grant. April 1990
British Academy Research Grant. July 1990
British Academy Research Grant. July 1991
British Academy Overseas Conference Grant. April 1991
King's College School of Humanities Research Grant. February 1992
British Academy Overseas Conference Grant. April 1992
British Academy Research Grant, March 1996 (Metz conductus fragments and Gluck/Castil-Blaze: £673.00)
Research Grant, School of Research and Graduate Studies, July 1996 (MLO IV: £2,064.00)
British Academy Research Grant, March 1997 (MLO III: £1,365.00)
Music and Letters Grant, July 1997 (MLO microfilms: £500.00)
Arts and Humanities Research Board Grant, Research Grant, February 1999 (Patterns of Mozart Reception: £36,686.00)
Arts and Humanities Research Board, Research Leave, January 2000 (MLO II: £17000.00)
Leverhulme Research Fellowhip, March 2000 (MLO II: £5,888.40); declined
Arts and Humanities Research Board, Small Grant, May 2000 (Weber: £3,503.00)
Arts and Humanities Research Board, Small Grant, January 2001 (Music Drama at the Paris Odéon: £841.00)
Arts and Humanities Research Board, Small Grant, May 2001 (Bellini: £4,638.00)
Arts and Humanities Research Board, Innovations Award, November 2001 (Polyphonic Music and the Culture of Medieval France: £23,747)
British Academy, Overseas Conference Grant, July 2002 (Donizetti and Wagner:£521)
British Academy, Research Grant, July 2003 (Mozart and the Impresario:£4,200)
British Academy, Overseas Conference Grant. April 2004 (Mozart and the Impresario:£750)
Arts and Humanities Research Council, Research Leave, July 2005 (Stage Music in Nineteenth-Century France: £14,013)
British Academy, Overseas Conference Grant. July 2005 (Mozart's Twelfth Mass: £400)
Arts and Humanities Research Council, Small Grant, October 2006 (Blaze de Bury: £15,764)
British Academy, Small Grant, January 2007 (Foreign Opera in Paris during the July Monarchy: Alphonse Royer and Gustave Vaëz: £2,309)
British Academy, Small Grant, July 2008 (Opéra comique in the Second Empire: Institution and Repertory: £7,074)
British Academy, Overseas Conference Grant, July 2008 (Geographies of Polyphonic Song, £450)
Arts and Humanities Research Council, Research Leave, July 2009 (Mozart's Ghosts, £38,692)
Arts and Humanities Research Council, Research Grant, July 2010 (Cantum pulcriorem invenire: Thirteenth-Century Latin Poetry and Music, £593,470; AH/HO34226/1)
American Musicological Society, Ruth A. Solie Award for the best collection of essays on a musicological topic in 2009 (joint award with Annegret Fauser, UNC Chapel Hill), November 2010
American Musicological Society, H. Colin Slim award for the outstanding article in musicology (beyond early stages) in 2010, November 2011
Professor Mark Everist
Office address: Department of Music, University of Southampton, Highfield, Southampton SO17 1BJ United Kingdom Tel: +44 (0)23 8059 4563 Fax.: +44 (0)23 80593197 Email: firstname.lastname@example.org Alternatively: 6 rue de Belzunce, F-75010 Paris France Tel: +33 (0)188.8.131.52.73 Mobile: +33 (0)184.108.40.206.70 Email: email@example.com Parcels should never be sent to the Paris address.
Room Number: 6/1099
Telephone: (023) 8059 4563
Facsimile: (023) 8059 3197