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Music Part of Humanities
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07909 521043
Email:
M.Everist@southampton.ac.uk

Professor Mark Everist

Professor of Music

Professor Mark Everist's photo

Professor Mark Everist is a Professor of Music at the University of Southampton.

My teaching and research focus 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. I am 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), Mozart's Ghosts: Haunting the Halls of Musical Culture (2012), Discovering Medieval Song (2018), as well as editor of three volumes of the Magnus Liber Organi for Editions de l'Oiseau-Lyre (2001-2003) and seven collections of essays.

I taught at King's College London (1982-1996), and am now Professor of Music at the University of Southampton, where I was Head of Music from 1997-2001, and again from 2006-2010.  In 2010, I was appointed Associate Dean (Research) in the Faculty of Arts and Humanities and Director of the Arts and Humanities Graduate School.  I teach undergraduate courses on the middle ages, the 18th and 19th centuries, and masters courses on research methods and critical practice. My 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.

I have 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. I was editor of the Journal of the Royal Musical Association from 1990-1994, continued to serve as a member of its editorial board until 2018, 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, I was  a member of its Peer Review College from 2005 to 2018 and a Strategic Reviewer from 2013-2018. I 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), I am a fellow of the Academia Europaea, and was President of the Royal Musical Association from 2011-2018.  I was elected corresponding member of the American Musicological Society in 2014.

Research interests

Mark's interests include polyphonic music 1150-1350; opera in 19th-century France; Mozart reception.

I have 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. I was editor of the Journal of the Royal Musical Association from 1990-1994, continued to serve as a member of its editorial board until 2018, 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, I was a member of its Peer Review College from 2005 to 2018 and a Strategic Reviewer from 2013-2018. I 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), I am a fellow of the Academia Europaea, and corresponding member of the American Musicological Society.  I was President of the Royal Musical Association from 2011 to 2018.

Affiliate research group

Musicology and Ethnomusicology

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Books

Genealogies of Musical Memory: Gluck in the Nineteenth-Century Parisian Imagination , forthcoming [text complete in draft]

Ars Antiqua: The History of Music in Europe, 1160-1330 .  New York: Oxford University Press, forthcoming [contracted with OUP New York]

Opera in Paris from the Empire to the Commune .  London: Routledge, 2018

Discovering Medieval Song: Thirteenth-Century Latin Poetry and Music . Cambridge: Cambridge University Press, 2018

Mozart’s Ghosts: Haunting the Halls of Musical Culture (New York: Oxford University Press, 2013)

Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris , Variorum Collected Studies Series CS805. Aldershot: Ashgate, 2005

Music Drama at the Paris Odéon , 1824-1828. Berkeley, Los Angeles and London: University of California Press, 2002

French Motets in the Thirteenth Century: Music, Poetry and Genre , Cambridge Studies in Medieval and Renaissance Music. Cambridge: Cambridge University Press, 1994; pb reprint 2005

French Thirteenth-Century Polyphony: Aspects of Sources and Distribution . New York and London: Garland, 1989

Edited Books (collections of essays and editions of corpora)

The Cambridge History of Medieval Music (co-edited with Thomas Forrest Kelly). Cambridge: Cambridge University Press, 2018

Meyerbeer and Grand Opéra: From the July Monarchy to the Present ,  Speculum musicae 28.  Turnhout: Brepols, 2016

The Cambridge Companion to Medieval Music . Cambridge: Cambridge University Press, 2010.

Stage Music and Cultural Transfer: Paris, 1830-1914 (co-edited with Annegret Fauser). Chicago: Chicago University Press, 2009

Les Organa à deux voix pour l’office du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Plut . 29.1, Le Magnus liber organi de Notre Dame de Paris 2. Monaco: Éditions de l’Oiseau Lyre, 2003

Les Organa à deux voix pour la messe (De l’Assomption au commun des saints) du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Plut. 29.1 , Le Magnus liber organi de Notre Dame de Paris 4. Monaco: Éditions de l’Oiseau Lyre, 2002

Les Organa à deux voix pour la messe (De Noël à la fête des Saints Pierre et Paul) du manuscrit de Florence, Biblioteca Medicea-Laurenziana, Plut. 29.1 , Le Magnus liber organi de Notre Dame de Paris 3. Monaco: Éditions de l’Oiseau Lyre, 2001

Rethinking Music (co-edited with Nicholas Cook). Oxford: Oxford University Press, 1999

Analytical Strategies and Musical Interpretation (co-edited with Craig Ayrey). Cambridge: Cambridge University Press, 1996

Music Before 1600 , Models of Musical Analysis 2. Oxford: Blackwell, 1992

French Thirteenth-Century Polyphony in the British Library: A Facsimile Edition of the Manuscripts Additional 30091 and Egerton 2615 (fols 79-94v) . London: Plainsong and Mediaeval Music Society, 1988

Five Anglo-Norman Compositions from Thirteenth-Century England . Newton Abbott: Antico Edition, 1985

Articles

‘Wagner in Paris: The Case of Rienzi (1869)’. 19th-Century Music 41 (2017) 3-30

‘The Music of Power: Parisian Opera and the Politics of Genre, 1806-1864’. Journal of the American Musicological Society 67 (2014), 687-736

‘Singers, Scholars, and the Performance of Medieval Polyphony’. Early Music 41 (2013), 44-48

Grand Opéra - Petit Opéra : Parisian Opera and Ballet from the Restoration to the Second Empire. 19th-Century Music 33 (2010), 195-231

‘In Search of the Waters of Oblivion'. Journal of the American Musicological Society 62 (2009), 699-720

‘Il n’y a qu’un Paris au monde, et j’y reviendrai planter mon drapeau!’: Rossini’s Second grand opéra’.  Music & Letters 90 (2009), 636-672

‘Motets, French Tenors and the Polyphonic Chanson ca.1300’. Journal of Musicology 24 (2007), 365-406

‘‘Souspirant en terre estrainge’: The Polyphonic Rondeau from Adam de la Halle to Guillaume de Machaut’. Early Music History 26 (2007), 1-42

‘The Horse, the Clerk and the Lyric: The Musicography of the Thirteenth and Fourteenth Centuries’. Journal of the Royal Musical Association 130 (2005), 213-229

‘Theatres of Litigation: Stage Music at the Théâtre de la Renaissance, 1838-1840’. Cambridge Opera Journal 16 (2004), 133-161

‘Margherita d’Anjou’. In Giacomo Meyerbeer: Margherita d’Anjou . Opera Rara: ORC25, 2003, 10-43 and 51-3

‘Communication’. Journal of the American Musicological Society 55 (2002), 195-196

‘Speaking with the Supernatural: E.T.A. Hoffmann, George Bernard Shaw and Die Oper aller Opern’ . Mozart-Jahrbuch 2002 des Zentralinstitutes für Mozartforschung der Internationalen Stiftung Mozarteum Salzburg , Kassel, Basel and London: Bärenreiter, 2002, 115-134

‘Presentazione’ / ‘Presentation’. In Massimo Masani Ricci, Codice Pluteo 29.1 della Biblioteca Laurenziana di Firenze: storia e catalogo comparato , Studi musicali Toscani 8. Turin: Edizioni ETS, 2002, 9-15

‘Translating Weber’s Euryanthe : German Romanticism at the Dawn of French Grand Opéra’. Revue de Musicologie 87 (2001), 67-105

‘Enshrining Mozart: Don Giovanni and the Viardot Circle’. 19th-Century Music 25 (2001), 165-189

‘Reception and Recomposition in the Polyphonic Conductus cum cauda : The Metz Fragment’. Journal of the Royal Musical Association 125 (2000), 135-163

‘Meyerbeer’s Il crociato in Egitto: Mélodrame , Opera, Orientalism’. Cambridge Opera Journal 8 (1996), 215-250

‘The Polyphonic Rondeau c1300: Repertory and Context’. Early Music History 15 (1996), 59-96

‘A New Source for the Polyphonic Conductus ’. Plainsong and Medieval Music 3 (1994), 149-168

‘The Name of the Rose: Meyerbeer’s opéra comique , Robert le Diable ’. Revue de Musicologie 80 (1994), 211-249

‘The Miller’s Mule: Writing the History of Medieval Music’. Music & Letters 74 (1993), 44-53

‘Giacomo Meyerbeer and Music Drama at the Paris Odéon during the Bourbon Restoration’. 19th-Century Music 17 (1993), 124-148

‘Anglo-French Interaction in Music, c1170- c1300’. Revue belge de musicologie 46 (1992) 5-22

‘Lindoro in Lyon: Rossini’s Le Barbier de Séville ’. Acta musicologica 44 (1992), 50-85

‘From Paris to St. Andrews: The Origins of W1’. Journal of the American Musicological Society 43 (1990), 1-42

‘The Refrain Cento : Myth or Motet?’ Journal of the Royal Musical Association 114 (1989), 164-188

‘The Rondeau -Motet: Paris and Artois in the Thirteenth Century’. Music & Letters 69 (1988), 1-22

Nicolas Ruwet, ‘Methods of Analysis in Musicology’. Music Analysis 6 (1987), 1-34

‘New Sources of English Fourteenth-Century Polyphony [with Margaret Bent]’. Early Music History 2 (1981), 306-321

‘Music and Theory in Late Thirteenth-Century Paris: The Codex Paris, Bibliothèque Nationale f. lat. 11266’. Royal Musical Association Research Chronicle 17 (1981), 42-64

Chapters in collected works

‘Reconstructing the Creative Process: Music in the 19th-Century Theatre’.  In Nicolas Donin (ed.), The Oxford Handbook of the Creative Process in Music .  New York: Oxford University Press, forthcoming [complete]

‘Le Théâtre Impérial de l’Opéra-Comique, 1848-1870’.  In Hervé Lacombe (ed.), Histoire de l’opéra français , 3 vols, Paris: Fayard, forthcoming [complete]

‘The Variable-Voice Conductus’.  In David Skinner and Tess Knighton (eds), Songs and Instruments in the Middle Ages [Remainder of Title Redacted] , forthcoming [complete]

‘Cosmopolitanism and Music for the Theatre: Europe and Beyond, 1800–1870’.  In Anastasia Belina, Kaarina Kilpio and Derek Scott (eds), Music History and Cosmopolitanism .  London: Routledge, 2019, 13-32

‘Opera, Soft Power, and Anglo-French Relations in the Crimea (1855-1856)’.  In Cristina Scuderi and Ingeborg Zechner, eds, Opera as Institution: Networks and Professions (1700–1914) , Berlin, etc.: LIT-Verlag, 2019, 95-118

‘Friends and Foals: The Polyphonic Music of Adam de la Halle’.  In Jennifer Saltzstein (ed.), Musical Culture in the World of Adam de la Halle , Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe 3.  Leiden: Brill, 2019, 311-351

‘Le conduit à nombre de voix variable (1150-1250)’. In Christelle Cazeaux-Kowalski, Christelle Chaillou-Amadieu, Anne-Zoë Rillon-Marne and Fabio Zinelli (eds), Les noces de philologie et musicologie: texte et musique au moyen âge , Rencontres-Civilisation médiévale.  Paris: Classiques Garnier, 2018, 329–344

‘Anatomy of …’.  In Catherine Bradley and Karen Desmond (eds), The Montpellier Codex: The Final Fascicle .  Woodbridge: Boydell and Brewer, 2018, 13-31

‘Gluck, la politique, et la presse du Second Empire’.  In Olivier Bara, Christophe Cave et Marie-Ève Thérenty (eds), Presse et opéra aux XVIIIe et XIXe siècles: croisements, échanges, représentations . www.medias19.org (19 pages; March 2018)

‘The Emergence of Polyphonic Song, c1300’.  In Mark Everist and Thomas Forrest Kelly (eds), The Cambridge History of Medieval Music , 2 vols paginated consecutively.  Cambridge: Cambridge University Press, 2018, 2:907-936

‘Gluck, Politics and the Second Empire Press’.  In Thomas Betzwieser, Michele Calella and Klaus Pietschmann (eds) Christoph Willibald Gluck (1714-2014): Bilder Mythen Diskurse , Wiener Veröffentlichungen zur Musikwissenschaft 47. Vienna: Hollitzer, 2018, 163-178

‘Rossini, Giovanni Tadolini e le opere degli anni dieci dell’Ottocento’.  In Philip Gossett (ed.), ‘Alle più care imagini’: studi rossiniani in memoria di Arrigo Quattrocchi .  Rome: Il Saggiatore musicale, 2016, 181-196

‘Vernacular Contexts for the Monophonic Motet’.  In David Rothenberg and Benjamin Brand (eds), Situating Sacred Polyphony in the Middle Ages and Renaissance: Liturgy and Symbolism, Institutions and Archival Research: Written in Honor of Professor Craig Milton Wright .  Cambridge: Cambridge University Press, 2016, 142-157

‘Meyerbeer and the Hound of the Baskervilles’.  In Mark Everist (ed.), Meyerbeer and Grand Opéra: From the July Monarchy to the Present ,  Speculum musicae.  Turnhout: Brepols, 2016, 395-430

‘Guns and Roses: Meyerbeer Then and Now’. In Mark Everist (ed.), Meyerbeer and Grand Opéra: From the July Monarchy to the Present ,  Speculum musicae.  Turnhout: Brepols, 2016, ix-xxiii

‘Castil-Blaze et la réception de Weber, 1824-1857’.  In Etienne Jardin (ed.), Actes des colloques "Transferts culturels" , Paris, Opéra Comique les 5 et 6 avril 2011 et 19 et 20 janvier 2012 , 1-32. www.bruzanemediabase.com (32 pages; August 2015)

‘Rehearsing Opera: Conditions and Contexts, Paris 1780-1850’.  In Helen Greenwald (ed.), The Oxford Handbook of Opera .  New York: Oxford University Press, 2014, 419-441

‘Vernacular Contexts for the Monophonic Motet’.  In David Rothenberg and Benjamin Brand (eds), Situating Sacred Polyphony in the Middle Ages and Renaissance: Liturgy and Symbolism, Institutions and Archival Research: Written in Honor of Professor Craig Milton Wright .  Cambridge: Cambridge University Press, 2016, 142-157

‘Rossini, Giovanni Tadolini e le opere degli anni dieci dell’Ottocento’.  In Philip Gossett (ed.), ‘Alle più care imagini’: studi rossiniani in memoria di Arrigo Quattrocchi. Rome: Il Saggiatore musicale, 2016, 181-196

‘Castil-Blaze et la réception de Weber, 1824-1857’. In Etienne Jardin (ed.), Actes des colloques "Transferts culturels", Paris, Opéra Comique les 5 et 6 avril 2011 et 19 et 20 janvier 2012 , 1-32. www.bruzanemediabase.com (32 pages; August 2015)

‘Rehearsing Opera: Conditions and Contexts, Paris 1780-1850’. In Helen Greenwald (ed.), The Oxford Handbook of Opera . New York: Oxford University Press, 2014, 419-441

‘Master and Disciple: Teaching the Composition of Polyphony in the Thirteenth Century’. In Proceedings of Conference: The Gothic Revolution in Music, 1100-1300, Musica disciplina 58 (2013), 51-71

‘ Rienzi à Paris: Théâtre-Lyrique, 1869’. In Richard Wagner: Rienzi , L’avant-scène opéra. Paris; Editions Premièrs Loges, 2012, 102-107

‘Beethoven et Rossini: opéra et concert à la fin de la Restauration’. In Olivier Bara and Alban Ramaut (eds), Le romantisme musical français et ses généalogies européennes . St Etienne: Presses Universitaires de St Etienne, 2012, 126-137

‘Machaut's Musical Heritage’. In Jennifer Bain and Deborah McGrady (eds), A Companion to Guillaume de Machaut , Brill’s Companions to the Christian Tradition 33. Leiden: Brill, 2012, 143-158

‘Between Opéra-Comique and Opéra-National: Scribe, Vaëz and Boisselot c1850’. In Lorenzo Frassà (ed.), The Opéra-Comique in the XVIII- and XIX-Centuries , Speculum musicæ. Turnhout: Brepols, 2011, 101-152

‘Rossini at the Paris Opéra, 1843-1847: Translation, Arrangement, Pasticcio ’. In Herbert Schneider and Rainer Schmusch (eds), Librettoübersetzung: Interkulturalität im europäischen Musiktheater , Musikwissenschaftliche Publikationen 32. Hildesheim: Olms, 2009, 131-163

'Introduction' and 'The Thirteenth Century'.  In Mark Everist (ed.), The Cambridge Companion to Medieval Music .  Cambridge: Cambridge University Press, 2010, 1-6 and 67-86

‘Tails of the Unexpected: The Punctus organi and the Conductus cum caudis ’.  In Rainer Kleinertz and Wolf Frobenius (eds), Musik des Mittelalters und der Renaissance. Festschrift Klaus-Jürgen Sachs zum 80. Geburtstag , Veröffentlichungen des Staatlichen Instituts für Musikforschung Berlin.  Hildesheim: Olms, 2010, 1-35

'Gevaert, 'Musicology' and ' La musique ancienne '. In Marie Cornaz, Valérie Dufour and Henri Vanhulst (eds), François-Auguste Gevaert (1828-1908): actes du colloque, Revue belge de musicologie 64 (2010), 1-3

'The Operas of François-Auguste Gevaert: The Tour d'horizon '. In Marie Cornaz, Valérie Dufour and Henri Vanhulst (eds), François-Auguste Gevaert (1828-1908): actes du colloque, Revue belge de musicologie 64 (2010), 5-37

‘A New Source for the Polyphony of the Ars subtilior: Paris, Bibliothèque nationale de France, nouvelles acquisitions françaises 22069’ . In Yolanda Plumley and Anne Stone (eds), A Late Medieval Songbook and its Context: New Perspectives on Codex Bibliothéque du Château de Chantilly, 564 . Tours: Centre d’études Superieures de la Renaissance, 2010, 287-303

‘Partners in Rhyme: Alphonse Royer, Gustave Vaëz, and Foreign Opera in Paris during the July Monarchy’. In Roberta Montemarra Marvin and Hilary Poriss (eds), Fashions and Legacies in Nineteenth-Century Italian Opera .  Cambridge: Cambridge University Press, 2009, 30-52

‘Jacques Offenbach: The Music of the Past and the Image of the Present’. In Mark Everist and Annegret Fauser (eds), Music, Theater, and Cultural Transfer: Paris, 1830-1914 . Chicago: Chicago University Press, 2009, 72-98

‘A Transalpine Comedy: L’elisir d’amore and Cultural Transfer’.  In Damien Colas and Alessandro di Profio (eds), D’une scène à l’autre. L’opéra italien en Europe .  Liège : Mardaga, 2008, 279-298

‘Vincenzo Bellini I Puritani : Dossier de Presse’ [with Sarah Hibberd and Walter Zidaric]. In Maria Rosa De Luca, Salvatore Enrico Failla, Giuseppe Montemagno (eds), Vincenzo Bellini e la Francia, atti del convegno internazionale (Paris, Sorbonne, 5-7 novembre 2001) . Lucca, Libreria Musicale Italiana, 2007, 405-81

‘Mozart and L’impresario ’. In Rainer Schmusch and Michelle Biget-Mainfroy (eds), ‘L'esprit français’ und die Musik Europas - Entstehung, Einfluß und Grenzen einer ästhetischen Doktrin . Hildesheim: Olms, 2006, 398-411

‘‘Killing a Bull’ and the Pleasures of History’. In Giuseppe Verdi: Les Vêpres siciliennes . Opera Rara ORCV303, 2005, 11-30

‘Donizetti and Wagner: opéra de genre at the Théâtre de la Renaissance’. Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris , Variorum Collected Studies Series CS805. Aldershot: Ashgate, 2005, 309-341

‘ ‘Tutti i francesi erano diventati matti’ : Bellini and the Duet for Two Basses’. Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris , Variorum Collected Studies Series CS805. Aldershot: Ashgate, 2005, 281-307. In French in Maria Rosa De Luca, Salvatore Enrico Failla, Giuseppe Montemagno (eds), Vincenzo Bellini e la Francia, atti del convegno internazionale (Paris, Sorbonne, 5-7 novembre 2001) . Lucca, Libreria Musicale Italiana, 2007, 327-54

‘Struttura sociale e contesti artistici nell’opera francese (1806-64)’. In L’enciclopedia della musica Einaudi , 4 vols, ed. Jean-Jacques Nattiez (Turin: Einaudi, 2004) 4:956-975

‘‘ Der Lieblingswunsch meines Lebens ’: Contexts and Continuity in Meyerbeer’s Opéras Comiques ’. In Arnold Jacobshagen and Milan Pospíšil (eds), Meyerbeer und die Opéra Comique , ed., Thurnauer Schriften zum Musiktheater 20. Laaber: Laaber, 2004, 123-151

‘Le fonti della musica polifonica, ca. 1170-1330’. In Il libro di musica: per una storia delle fonti musicali in Europa , ed. Carlo Fiore, De charta 7. Palermo: L’Epos, 2004, 43-64

‘Pauline Viardot-Garcia’. In James Briscoe (ed.), New Historical Anthology Of Music by Women . Bloomington and Indianapolis: Indiana University Press, 2004, 188-197

‘Translating Weber’s Euryanthe : German Romanticism at the Dawn of French Grand Opéra’[abridged version] . In Gottfried R. Marschall (ed.), La traduction des livrets: aspects théoriques, historiques et pragmatiques: actes du colloque tenu en Sorbonne les 30 novembre, 1 er et 2 décembre 2000 , Collection Musiques/Écritures. Paris: Presses de l’Université de Paris IV (Sorbonne), 2004, 269-293

‘Fromental Halévy: de l’opéra comique au grand opéra’. In Francis Claudon, Gilles de Van and Karl Leich-Galland (eds), Actes du colloque Fromental Halévy, Paris, Novembre 2000 ,, Études sur l’opéra français du xix e siècle 5. Weinsberg: Musik-Edition Lucie Galland, 2003, 93-116 and in English in Giacomo Meyerbeer and 19 th-Century Parisian Music Drama

‘Giacomo Meyerbeer’s Les Huguenots : Staging the History of the French Renaissance [with Jeanice Brooks]’. In Yannick Portebois and Nicholas Terpstra (eds), The Renaissance in the Nineteenth Century – Le XIX e siècle renaissant , Publications of the Centre for Reformation and Renaissance Studies: Essays and Studies 2. Toronto, Centre for Reformation and Renaissance Studies, 2003, 121-142

‘Gluck, Berlioz and Castil-Blaze’. In Mary Ann Smart and Roger Parker (eds), Reading Critics Reading: French Music Criticism, 1789-1848 . Oxford: Oxford University Press, 2001, 86-108

‘Reception Theories, Canonic Discourses and Musical Value’. In Nicholas Cook and Mark Everist (eds), Rethinking Music , Oxford: Oxford University Press, 1999, 378-402

‘`Madame Dorothea Wendling is arcicontentissima ’: Singers and Voices in Mozart’s Idomeneo ’. In Julian Rushton (ed.), Mozart: Idomeneo , Cambridge Opera Guide. Cambridge: Cambridge University Press, (1993), 48-61 and 166-168

‘A Reconstructed Source for the Thirteenth-Century Conductus’. In Luther Dittmer (ed.), Gordon Athol Anderson (1921-1981) In memoriam von seinen Studenten, Freunden und Kollegen , 2 vols, Musicological Studies 39. Henryville, Ottawa, and Binningen: Institure of Mediaeval Music (1984), 1:94-116

Digital Resources

Music in the Second Empire Theatre (MitSET), 2019- www.fmc/mitset (PI)

REFRAIN Music, Poetry Citation: The Refrain in the Middle Ages / Musique, poésie, citation: le refrain au moyen âge , 2015-, www.refrain.ac.uk (PI)

Music Research Consortium UK, 2013-, www.music-research.ac.uk (PI)

Cantum pulcriorem invenire: Latin Poetry and Song , 1160-1330, 2012-, catalogue.conductus.ac.uk (PI)

musicSpace , 2007-, musicspace.mspace.fm/ (CI)

Francophone Music Criticism / La critique musicale en France et dans les pays francophones , 1789-1914, 2006-, http://music.sas.ac.uk/fmc (joint PI)

Patterns of Mozart Reception , 1999-, www.southampton.ac.uk/~me/pmr/pmr.html (PI)

Performance and Recording

I have acted as consultant for the Hilliard Ensemble, the Orlando Consort, Royal Opera House Covent Garden, English National Opera and The Royal Ballet. He currently acts as consultant to Opera Rara, Red Byrd and Ensemble De Cælis. CDs with which he has been associated are listed below:

David Owen Norris, Katy Bircher, Caroline Balding and Andrew Skidmore, ‘JUPITER: Mozart in the 19th-Century Drawing Room’.  Hyperion, CDA68234, 2019

John Potter, Christopher O’Gorman, Rogers Covey-Crump, ‘Conductus 3: Music and Poetry of Thirteenth-Century France’. Hyperion, CDA68115, 2016

John Potter, Christopher O’Gorman, Rogers Covey-Crump, ‘Conductus 2: Music and Poetry of Thirteenth-Century France’. Hyperion, CDA67998, 2013

John Potter, Christopher O’Gorman, Rogers Covey-Crump, ‘Conductus 1: Music and Poetry of Thirteenth-Century France’. Hyperion, CDA67949, 2012

Giuseppe Verdi: Les Vêpres siciliennes . Opera Rara ORCV303, 2005

Red Byrd, ‘A Scottish Lady Mass: Sacred Music from Medieval St Andrews'. Hyperion, CDA67299, 2005

Giacomo Meyerbeer: Margherita d'Anjou . Opera Rara ORC25, 2003

De Cælis, ‘O felices lacrimæ'. Studio SM D2930, 2002

Red Byrd, ‘Magister Leoninus: Sacred Music from 12th-Century Paris -2'. Hyperion CDA67289, 2001

Red Byrd, ‘Magister Leoninus: Sacred Music from 12th-Century Paris'. Hyperion CDA66944, 1997

Orlando Consort, ‘Mystery of Notre Dame: Chant and Polyphony'. DG 453 487-2, 1997

Red Byrd, ‘Paris 1200: Notre-Dame Music for Christmas'. BBC Radio 3, December 1995 Hilliard Ensemble, ‘Perotin and the Ars Antiqua'. hilliard LIVE 1.HL1001, 1996

Reviews

Reviews in Royal Musical Association Research Chronicle, Music & Letters, Early Music, TLS, Plainsong and Medieval Music, MLA Notes, Journal of the Royal Musical Association, Journal of the American Musicological Society, Early Music News, Musicologica Austriaca, Journal of Medieval History, Speculum, Medium aevum.

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, 2013)

Francesca Placanica, ‘Mercadante’s Il reggente’ (PhD diss. University of Southampton, 2013)

Helen Macfarlane, ‘French Romance by Italian Composers, 1800-1850’ (PhD diss. University of Southampton, 2014)

Amy Williamson, ‘English Polphonic Music c1300’ (PhD diss. University of Southampton, 2016)

Eva Maschke, ‘Style and Transmission in Notre-Dame Polyphony’ (PhD diss. University of Southampton, 2015)

Jacopo Mazzeo, ‘Function and Meaning in the Thirteenth-Century Conductus’ (PhD diss. University of Southampton, 2015)

Asher Yampolsky, ‘Structure and Form in Two-Part Notre-Dame Organum’ (PhD diss. University of Southampton, 2019)

Nana Wang, ‘Nineteenth-Century Pianistic Responses to the Opera’ (PhD diss. University of Southampton, 2019)

Diana Venegas Butt, ‘Keyboard Music for the Dance by Women in the Nineteenth century’ (PhD diss. University of Southampton, in progress)

Grace Newcombe, ‘Unlocking the Sound of British song: Performance Practice, 1150-1300’ (PhD diss. University of Southampton, in progress)

Chenyin Tang, ‘Western Opera in the Maritime Sinosphere: 1842-1949’ (PhD diss. University of Southampton, in progress)

William Osmond, ‘The Reception of French Opera West of the Rhine in the Mid-Nineteenth Century’ (PhD diss. University of Southampton, in progress)

David Alcock, ‘Russian Émigré Composers 1900-1953: Displacement, Memory and Music’ (PhD diss. University of Southampton, in progress)

Anisha Netto, ‘The European Circulation of Lorenzo Da Ponte’s Opera Libretti’ (PhD diss. University of Southampton, in progress)

Clare Merivale, ‘Giuseppe Verdi’s Les vêpres siciliennes: Sources and Cultural Exchange’ (PhD diss. University of Southampton, in progress)

Federico Zavanelli, ‘The French Background to Early Trecento Notations’ (PhD diss. University of Southampton, in progress)

Gintaré Stankeviciute, ‘Alban Berg in England Between the Wars’ (PhD diss. University of Southampton, in progress)

Samuel Shackleton, ‘Parisian Organum: Structures and Intertextualities c1200’ (PhD diss. University of Southampton, in progress)

Kaho Inoue, ‘The Challenge of ‘Pre-Franconian’ Notation’ (PhD diss. University of Southampton, in progress)

Fernanda Muñoz Salazar, ‘‘Italianistas contra francesistas’:  Bel canto and Modern Music Drama in Music Criticism in Mexico City at the End of the 19th Century’ (PhD diss. University of Southampton, in progress)

Visiting positions

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

Professional bodies

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, Rev ue de musicologie , June 2013-
Member of comité scientifique, Colloque : L’influence anglaise sur le romantisme musical français, Chateau d’Hardelot, October 2013
Member of Council, American Musicological Society, November 2013-October 2016
Arts and Humanities representative, United Kingdom Research Integrity Office, February 2014-
Member of comité scientifique, Colloque : Presse et opéra en France, 1750-1850: Croisements, échanges, représentations, Université Lyon 2, November 2014
Member of interdisciplinary council for doctoral affairs, Université de Paris-Sorbonne, 2015-
Member of awards panel for Jackson Prize, American Musicological Society, February 2016-October 2019
Programme Committee Member, Inside, Outside, and in Between: Institutionalization in Music History. The Fifth Sibelius Academy Symposium in Music History, June 2018
Programme Committee Chair, Ars Antiqua III, Lucca, November 2018
Member of comité scientifique, Colloque : Ecrits de compositeurs et espace médiatique, Université Lyon 2, November 2018


Awards

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
Arts and Humanities Research Council, Research Grant, April 2014 (Medieval Music, Big Data and the Research Blend [Transforming Musicology] (CPI-II), £49,480; AH/L006820/1)
Arts and Humanities Research Council, Follow-on Funding for Impact and Engagement, November 2014 ( Cantum Pulcriorem invenire - Thirteenth-Century Latin Poetry and Music: Workshop, Performance and Impact (CPI-III), £79,303; AH/M006425/1)
Institute of Musical Research, School of Advanced Study, University of London, Professorial Fellowship, November 2014 (The Political Impulse, Gluck-Reception, and Parisian Stage Music during the Second Empire, £40,000)
Arts and Humanities Research Council, Follow-on Funding for Impact and Engagement, September 2017 (JUPITER: Mozart in the 19th-Century Drawing Room; £77,670.98; AH/R005125/1)

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: m.everist@southampton.ac.uk Alternatively: 6 rue de Belzunce, F-75010 Paris France Tel: +33 (0)1.44.53.92.73 Mobile: +33 (0)6.76.56.72.70 Email: m.everist@southampton.ac.uk Parcels should never be sent to the Paris address.

Room Number : /www.everist.eu

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