Michael Alan Anderson specializes in a wide range of issues related to sacred music from the fourteenth through the sixteenth century, with emphasis on the saints and lay devotion. He is the author of the book St. Anne in Renaissance Music: Devotion and Politics (Cambridge University Press, 2014). Anderson is a two-time winner of ASCAP’s Deems Taylor Award for outstanding writing about music, for articles published in 2011 (Early Music History) and 2013 (Journal of the American Musicological Society). He is also the 2012 winner of the Noah Greenberg Award, given by the American Musicological Society for outstanding contributions to historical performance practices. In 2013, he received the University of Rochester’s Provost Multidisciplinary Award, which involved producing first recordings of medieval music supplied to the newly-installed medieval gallery at the Memorial Art Gallery. Other academic awards include the National Endowment for the Humanities Summer Stipend, the Alvin H. Johnson American Musicological Society 50 Dissertation-Year Fellowship, the Grace Frank Grant (Medieval Academy of America), the Whiting Foundation Fellowship (University of Chicago), and several travel and research grants.
Besides Early Music History and JAMS, Anderson’s articles have appeared in the journals Early Music, Plainsong and Medieval Music, and Studi musicali. He is also the author of The Singing Irish: A History of the Notre Dame Glee Club (University of Notre Dame Press, 2015), which chronicles the history of one of the oldest American choruses on the occasion of its centennial. As managing editor of the Eastman Case Studies series through the school’s Institute for Music Leadership, he oversees the production of essays examining business issues in musical arts organizations across the country. He further serves on the editorial board of two textbooks published by W.W. Norton (The History of Western Music, ed. Burkholder and Concise History of Western Music, ed. Hanning). Since 2010, he has also sat on the editorial board of the American Choral Review, the semiannual journal of the organization Chorus America. Anderson has presented papers nationally and internationally at major conferences both inside and outside the discipline.
Still an active performer, Anderson has served as Artistic Director of Schola Antiqua since 2008, following the retirement of medievalist Calvin M. Bower, with whom he co-founded the organization in 2000. Schola Antiqua is a Chicago-based professional vocal ensemble dedicated to the performance of music before 1600; the group currently serves as artists in residence at the Lumen Christi Institute. Anderson’s work with Schola Antiqua earned him Chorus America’s 2016 Louis Botto Award for Innovative Action and Entrepreneurial Zeal. The group’s albums have been released on the NAXOS and Discantus labels, and the ensemble has recorded music for museums and for academic publications, including Margot Fassler’s Music in the Medieval West (W.W. Norton, 2014). Music from commercial albums has aired on the nationally syndicated broadcasts of With Heart and Voice, Millennium of Music, and Harmonia and have been widely reviewed. Schola Antiqua has been the recipient of grants from the Elizabeth F. Cheney Foundation, the Sage Foundation, and the Illinois Arts Council.
As a choral conductor, Anderson has further served as the Assistant Director of the Rockefeller Memorial Chapel Choir (2001-05) and as a guest conductor of the Notre Dame Glee Club. Meantime as a singer, he performed for three seasons with the Chicago Symphony Chorus, under the batons of Barenboim, Boulez, Penderecki, Mehta, Eschenbach, Rostropovich, and others in venues from Orchestra Hall and the Ravinia Festival in Chicago to Carnegie Hall and the Berlin Philharmonie. He has also received invitations to appear with the Boston Early Music Festival chamber ensemble, the Mormon Tabernacle Choir, Seraphic Fire, Voices (Rochester), and the Schola Cantorum of Christ Church (Rochester).
- St. Anne in Renaissance Music: Devotion and Politics. Cambridge University Press, 2014. Chapter 1 – sample Review in Speculum Review in Music & Letters Review in Notes Appendix B and Errata
- The Singing Irish: A History of the Notre Dame Glee Club. University of Notre Dame Press, 2015. Chapter 4 – sample
- “The One Who Comes After Me: John the Baptist, Christian Time, and Symbolic Musical Techniques,” Journal of the American Musicological Society 66 (2013): 639-708. Full text
- “Root, Branch, and Flower: Lineage and Fecundity in the Versified Offices for St. Anne,” in The Book of Nature and Humanity in Medieval and Early Modern Europe, ed. David Hawkes and Richard G. Newhauser, Arizona Studies in the Middle Ages and the Renaissance 29 (Turnhout: Brepols, 2013), 105-129.
- “Fire, Foliage, and Fury: Vestiges of Midsummer Ritual in Motets for John the Baptist,” Early Music History 30 (2011): 1-54. Full text
- “‘His Name will be Called John’: Reception and Symbolism in Obrecht’s Missa de Sancto Johanne Baptista,” Early Music 39 (2011): 547-61. Full text
- “Enhancing the Ave Maria in the Ars Antiqua,” Plainsong and Medieval Music 19 (2010): 35-65. Full Text
- “The Organization and Complexes of the Q 15 Hymn Cycle,” Studi musicali 35 (2006): 327-62.
- Review of Medieval Music, Legend, and the Cult of St. Martin: Local Foundations of a Universal Saint, by Yossi Maurey, in Plainsong & Medieval Music 24 (2015), 234-40.
- Review of The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music, by David J. Rothenberg, in Speculum: A Journal of Medieval Studies 89 (2014), 236-7.
- Review of Anne Smith, The Performance of 16th-Century Music: Listening to the Theorists. Oxford University Press, 2011, in American Choral Review 55 (2013): 12-13. Full text
- Review of Christopher Page, The Christian West and its Singers: The First Thousand Years. New Haven: Yale University Press, 2009, in American Choral Review 53 (2011): 9-11. Full text
- Written for the Eastman Case Studies series
- “Taking up Residence with Eighth Blackbird” (Rochester: Institute of Music Leadership, 2016)
- “At the Core: Contract Negotiations at the Hartford Symphony Orchestra” (Rochester: Institute of Music Leadership, 2016)
- Edited for the Eastman Case Studies series
- Blaire Koerner, “Pegasus Early Music and Younger Audiences” (Rochester: Institute of Music Leadership, 2016)
- Eric Michael Laprade, “Culture Shock: The Merger of the Rhode Island Philharmonic Orchestra & Music School” (Rochester: Institute of Music Leadership, 2016)
- Eric Michael Laprade, “UMS Renegade: Building a Brand of Cutting-Edge Performances” (Rochester: Institute of Music Leadership, 2016)
- MHS 121 – Music and Society (800-1750)
- MHS 281 – Musical Borrowing
- MHS 421 – Middle Ages
- MHS 590 – Music in 19th c. U.S.A.
- MHS 591 – Music of Marian Devotion
- MHS 591 – The Motet before 1400
LOUIS BOTTO AWARD VIDEO (Chorus America)
VIDEO SAMPLES (Schola Antiqua of Chicago)
Machaut, Agnus Dei III, recorded live in concert (Cathedral of St. John the Evangelist, Cleveland)
Anonymous, O Clavis David, recorded live in concert
Josquin, Inviolata, Integra, et casta, recorded live in concert, St. Clement Church, Chicago, (February 2015)
Excerpts from “Josquin: Master of the Notes” (October 2011)
Excerpt from recording session: “Hail Mary Full of Grace”
Montage from the concert series “Music of the Hours” with special guest Roger S. Wieck (April 2012)
Anonymous, “Sanctus,” from West Meets East: Sacred Music from the Torino Codex (Discantus, 2010)Engagements / Professional Activities
- The Suspended Harp: Sounds of Faith in Medieval Jerusalem, October 23, 2016, 1pm and 3pm, The Cloisters Museum. Presented in conjunction with the Metropolitan Museum of Art’s exhibition Jerusalem 1000–1400: Every People Under Heaven, on view September 20, 2016–January 8, 2017.