A specialist in music before 1600, Honey Meconi joined the faculty of the University of Rochester in 2004 as Professor of Music in the College Music Department and Professor of Musicology at the Eastman School of Music. She was Director of the Susan B. Anthony Institute for Gender and Women’s Studies from 2007 to 2014, and also served as Susan B. Anthony Professor of Gender and Women’s Studies.
She is an expert on Renaissance music as well as the music of Hildegard of Bingen (the twelfth-century polymath, poet, and composer), and is director of The Hildegard Project, a long-term undertaking to perform all of that composer’s music. Her latest book, Hildegard of Bingen, will be published by the University of Illinois Press. Other books include Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court (Oxford University Press, 2003; reprint 2009) and the commentary volume to the facsimile edition of Brussels, Royal Library, Ms. IV.90 (Patrimonio Ediciones, 2007) as well as Early Musical Borrowing (editor, Routledge, 2004), Fortuna desperata: 36 Settings of an Italian Song (editor, A-R Editions, 2001), and Medieval Music (editor, Ashgate, 2011). She is currently writing a book on the cultural history of the chansonnier, and has published fiction under a nom de plume.
Shorter publications include essays on Hildegard’s Lingua ignota, the editing history of Hildegard’s music and texts, the Oxford Bibliography of Hildegard, Margaret of Austria’s chansonniers, the Segovia manuscript, the cultural history of the chansonnier, London Royal 8 G. vii, the Munich partbooks, extreme singing, Petrucci’s mass prints, the Habsburg-Burgundian court manuscripts, Josquin’s reputation, Fortuna desperata, motet-chansons, Absalon fili mi, art-song reworkings, imitatio, performance practice, the Basevi chansonnier, the Rochester Fascicle, Vienna ÖNB 9814, Susan B. Anthony, and other topics. She has been a Fulbright Fellow in Belgium, Andrew W. Mellon Fellow at the University of Pennsylvania, and Fellow at the Villa I Tatti in Florence, and has received multiple grants from the National Endowment for the Humanities and other agencies, including a 2008–2009 Fellowship from the National Endowment of the Humanities to study the cultural history of the chansonnier.
Recipient of a 2006 Alumna Award from the Pennsylvania State University College of Arts and Architecture, she has served on the Board of Directors of the American Musicological Society, both as Vice President and as Director-at-Large, and currently chairs the AMS Committee on Women and Gender. In 2009 she joined the editorial board of Grove Music, and from 2010 to 2012 served on the Governing Board of US-RILM. She is currently on the editorial board of the Journal of the American Musicological Society, the advisory board of the Josquin Research Project, and the advisory board of the Alamire Facsimile Project; she previously served on the boards of Pegasus Early Music and Houston Early Music, among others. In 1998 she organized the interdisciplinary conference “Constructing Hildegard: Reception and Identity 1098–1998,” and in 2012–2013 organized the Humanities Project “The World of Susan B. Anthony.” An earlier Humanities Project, in 2006–2007, was the panel/lecture/concert/workshop series “Women and Music: Looking Back, Looking Forward,” co-sponsored by the Susan B. Anthony Institute for Gender and Women’s Studies.
A performer as well as a scholar, she began directing early music groups while a student at Indiana University. She has since founded and directed ensembles at Harvard University (where she received her Ph.D.), Rice University (where she directed the Medieval Studies Program), and at the University of Rochester. As a singer of post-1600 music she has performed with, among others, the Tanglewood Festival Chorus, the professional Ensemble Vocal de la Radio-Télévision belge de la communauté française, and the Houston Symphony Chorus. In 2002 she created the free internet resource <http://www.thechoralsingerscompanion.com>. She is currently a member of Schola Cantorum, which performs weekly from October through April and records regularly. With Vox Early Music Ensemble she was recipient of the 2006 Noah Greenberg Award given by the American Musicological Society “for distinguished contribution to the study and performance of early music.”
Research interests include Pierre de la Rue and contemporaries; manuscripts, especially chansonniers; women and music, especially Hildegard of Bingen; Habsburg-Burgundian court music and manuscripts; borrowing; and extreme singing. Courses taught include Hildegard of Bingen, Illuminated Music Manuscripts, Chansonniers, Women and Music, Colloquium in Women’s Studies, Susan B. Anthony and Her World, Shakespeare and Music, Opera, Medieval and Renaissance Music, Baroque Music, and numerous other subjects.Works / Publications
updated February 2016
BOOKS AND EDITED VOLUMES
Medieval Music (editor). Farnham and Burlington: Ashgate, 2011.
Cancionero de Juana la Loca: La música en la corte de Felipe el Hermoso y Juana I de Castilla. Commentary volume to facsimile edition. Valencia, Spain: Patrimonio Ediciones, 2007.
N.B. Title supplied by publisher. For a list of errata and explanation of the compilation of the volume, contact firstname.lastname@example.org.
Early Musical Borrowing (editor). Criticism and Analysis of Early Music 5. New York and London: Routledge, 2004.
Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court. Oxford: Oxford University Press, 2003; reprint edition 2009.
Fortuna desperata: Thirty-Six Settings of an Italian Song. Recent Researches in the Music of the Middle Ages and Early Renaissance 37. Middleton, Wisconsin: A-R Editions, 2001.
Basevi Codex: Florence, Biblioteca del Conservatorio, MS 2439. Facsimile edition with introduction. Peer, Belgium: Alamire, 1990.
Style and Authenticity in the Secular Music of Pierre de la Rue. Ph.D. dissertation, Harvard University, 1986. UM 86-20508.
ESSAYS / LONGER WORKS
“Power, Prestige, and Polyphony: The Use of Parchment in Music Manuscripts ca. 1450–1600.” In Sources of Identity: Makers, Owners, and Users of Music Sources before 1600. Edited by Tim Shephard and Lisa Colton. Turnhout: Brepols, submitted.
“The Segovia Manuscript as Chansonnier.” In Segovia C Revisited: A Spanish Manuscript in Transition. Edited by Wolfgang Fuhrmann and Cristina Urchueguía. Turnhout: Brepols, in press.
“Pierre de la Rue: Missa pro fidelibus defunctis.” In The Book of Requiems. Edited by Pieter Bergé and David Burn. Leuven: Leuven University Press, in press.
“Antoine Févin: Missa pro fidelibus defunctis.” In The Book of Requiems. Edited by Pieter Bergé and David Burn. Leuven: Leuven University Press, in press.
“Alamire, Pierre de la Rue, and Manuscript Production in the Time of Charles V.” In “Qui musicam in se habet”: Studies in Honor of Alejandro Enrique Planchart, 575–613. Edited by Anna Zayaruznaya, Bonnie J. Blackburn, and Stanley Boorman. Miscellanea 9. Middleton: American Institute of Musicology, 2015.
“Pierre de la Rue c. 1452–1518: Missa Alleluia.” In Meerstemmigheid in Beeld: Zeven Meeterwerken uit het Atelier van Petrus Alamire/Polyphony in the Picture: Seven Masterpieces from the Workshop of Petrus Alamire, 78–109. Edited by David J. Burn. Leuven: Davidsfonds, 2015.
“Antoine de Févin c. 1470–c. 1512: Missa pro fidelibus defunctis.” In Meerstemmigheid in Beeld: Zeven Meeterwerken uit het Atelier van Petrus Alamire/Polyphony in the Picture: Seven Masterpieces from the Workshop of Petrus Alamire, 210–243. Edited by David J. Burn. Leuven: Davidsfonds, 2015.
“Recordings of Fifteenth-Century Music.” In The Cambridge History of Fifteenth-Century Music, 823–832. Edited by Anna Maria Busse Berger and Jesse Rodin. Cambridge: Cambridge University Press, 2015.
“Plus oultre, Pierre de la Rue, and VienNB 9814.” Journal of the Alamire Foundation 6 (2014): 12–32.
“The Unknown Hildegard: Editing, Performance, and Reception (An Ordo Virtutum in Five Acts).” In Music in Print and Beyond: Hildegard von Bingen to The Beatles, 258–305. Edited by Craig A. Monson and Roberta Montemorra Marvin. Rochester: University of Rochester Press, 2013.
“Hildegard of Bingen.” In Oxford Bibliographies in Music. Edited by Bruce Gustafson. New York: Oxford University Press, 2013.
“London Royal 8 G. vii and the Motets of Pierre de la Rue.” Die Tonkunst: Magazin für klassische Musik und Musikwissenschaft 5 (2011): 5–15.
“Shedding New Light (Literally) on the Rochester Fascicle: A Preliminary Report.” In Essays on Renaissance Music in Honour of David Fallows: Bon jour, bon mois, et bonne estrenne, 52–59. Edited by Fabrice Fitch and Jacobijn Kiel. Studies in Medieval and Renaissance Music 11. Woodbridge: Boydell and Brewer, 2011.
“Hildegard’s Lingua ignota and Music.” In Musik des Mittelalters und der Renaissance: Festschrift Klaus-Jürgen Sachs zum 80. Geburtstag, 59–79. Edited by Rainer Kleinertz, Christoph Flamm, and Wolf Frobenius. Veröffentlichungen des Staatlichen Instituts für Musikforschung 18. Studien zur Geschichte der Musiktheorie 8. Hildesheim, Zürich, and New York: Georg Olms Verlag, 2010.
“Margaret of Austria, Visual Representation, and Brussels, Royal Library, Ms. 228.” Journal of the Alamire Foundation 2 (2010): 11–36, 129–130.
“A Cultural Theory of the Chansonnier.” In “Uno gentile et subtile ingenio”: Studies in Renaissance Music in Honour of Bonnie Blackburn, 649–657. Edited by M. Jennifer Bloxam, Gioia Filocamo, and Leofranc Holford-Strevens. Turnhout: Brepols, 2009.
“The Ghost of Perfection: The Munich Partbooks and Some Thoughts on Renaissance Manuscripts.” In The Sounds and Sights of Performance in Early Music: Essays in Honour of Timothy J. McGee, 85–101 and Plate 1. Edited by Maureen Epp and Brian E. Power. Aldershot: Ashgate, 2009.
“The Range of Mourning: Nine Questions and Some Answers.” In Tod in Musik und Kultur: Zum 500. Todestag Philipps des Schönen, 141–156. Wiener Forum für ältere Musikgeschichte 2. Edited by Stefan Gasch and Birgit Lodes. Tutzing: Hans Schneider, 2007.
“Petrucci’s Mass Prints and the Naming of Things.” In Venezia 1501: Petrucci e la stampa musicale (Atti del Convegno internazionale, Venezia, Palazzo Giustinian Lolin, 10–13 ottobre 2001), 397–414. Edited by Giulio Cattin and Patrizia Dalla Vecchia. Series III, Studi musicologici B, Atti di Convegni 6. Venice: Edizioni Fondazione Levi, 2005.
“Habsburg-Burgundian Manuscripts, Borrowed Material, and the Practice of Naming.” In Early Musical Borrowing, 111-124 (see above under BOOKS AND EDITED VOLUMES).
“The Function of the Habsburg-Burgundian Court Manuscripts.” In The Burgundian-Habsburg Court Complex of Music Manuscripts (1500-1535) and the Workshop of Petrus Alamire, 117-124. Edited by Bruno Bouckaert and Eugeen Schreurs. Yearbook of the Alamire Foundation 5. Leuven and Neerpelt: Alamire Foundation, 2003.
“Josquin and Musical Reputation.” In Essays on Music and Culture in Honor of Herbert Kellman, 280-297. Edited by Barbara Haggh. Paris and Tours: Minerve, 2001.
“Poliziano, Primavera, and Perugia 431: New Light on Fortuna desperata.” In Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, 465-503. Edited by Paula Higgins. Oxford: Clarendon Press, 1999.
“Foundation for an Empire: The Musical Inheritance of Charles V.” In The Empire Resounds: Music in the Days of Charles V, 18-34. Edited by Francis Maes. Leuven: Leuven University Press, 1999. Published simultaneously in Dutch as “Grondslag voor een wereldrijk: De muzikale erfenis van Karel V.” In De Klanken van de Keizer: Karel V en de Polyfonie, 18-35. Edited by Francis Maes. Leuven: Leuven University Press, 1999.
“Ockeghem and the Motet-Chanson in Fifteenth-Century France.” In Johannes Ockeghem: Actes du XLe Colloque international d’études humanistes, Tours, 3-8 février 1997, pp. 381-402. Edited by Philippe Vendrix. Paris: Klincksieck, 1998. Reprinted in Secular Renaissance Music, pp. 137–158. Edited by Sean Gallagher. Farnham and Burlington: Ashgate, 2013.
“Another Look at Absalon.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 48 (1998): 3-29.
“French Print Chansons and Pierre de la Rue: A Case Study in Authenticity.” In Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, 187-214. Edited by Jessie Ann Owens and Anthony Cummings. Warren, Michigan: Harmonie Park Press, 1997.
“Art-Song Reworkings: An Overview.” Journal of the Royal Musical Association 119 (1994): 1-42.
“Does Imitatio Exist?” Journal of Musicology 12 (1994): 152-178.
“Free from the Crime of Venus: The Biography of Pierre de la Rue.” Revista de Musicología 16 (1993): 2673-2683 (Actas del XV congreso de la Sociedad Internacional de Musicología: Culturas musicales del Mediterráneo y sus ramificaciones, Madrid, 3-10 abril 1992, Vol. 5, 121-131).
“Is Underlay Necessary?” In Companion to Medieval and Renaissance Music, 284-291. Edited by Tess Knighton and David Fallows. London: J.M. Dent, 1992. Paperback edition, Berkeley: University of California Press, 1997.
“Sacred Tricinia and Basevi 2439.” I Tatti Studies: Essays in the Renaissance 4 (1991): 151-199.
“The Manuscript Basevi 2439 and Chanson Transmission in Italy.” In Atti del XIV congresso della Società Internazionale di Musicologia (Bologna 1987), Vol. III, 163-174. Edited by Angelo Pompilio, Donatella Restani, Lorenzo Bianconi, and F. Alberto Gallo. Turin: EDT, 1990.
“Pierre de la Rue and Secular Music at the Court of Marguerite of Austria.” Jaarboek van het Vlaamse Centrum voor Oude Muziek 3 (1987): 49-58.
“Anthony, Susan B.” In American Governance, I: 87–89. 5 vols. Edited by Stephen Schechter et al. Farmington Hills, Michigan: Macmillan, 2016.
Commentary for Extreme Singing: La Rue Requiem and Other Low Masterpieces of the Renaissance (CD). Vox Early Music Ensemble, Christopher Wolverton, Artistic Director; 2011.
Part of the research project receiving the American Musicological Society 2006 Noah Greenberg Award.
Commentary for Pierre de la Rue: Portrait musical (3-CD set). Capilla Flamenca, Dirk Snellings, Director. Musique en Wallonie, 2011.
“Pipelare, Matthaeus.” Revision of original article by Ronald Cross. Grove Music Online, 2011.
“Au feu d’amour and the Tapestry of Renaissance Music.” In Golden Muse: The Loeb Music Library at 50. Edited by Sarah Adams, Virginia Danielson, and Robert J. Dennis. Harvard Library Bulletin 18 (2007): 71–74.
Commentary for Missa L’homme armé: Sacred Music of Ludwig Senfl (world premiere CD recording). The Suspicious Cheese Lords, 2004.
The Choral Singer’s Companion. Rotating series of essays on choral literature for choral singers. Created 2002. <http://www.thechoralsingerscompanion.com>
“La Rue, Pierre de,” “Rigo de Bergis, Cornelius,” and “La Rue, Robert de.” In The New Grove Dictionary of Music and Musicians. 2nd edition. Edited by Stanley Sadie. London: Macmillan, 2001. Revised version of “La Rue, Pierre de,” 2009.
“Interdisciplinary Objects: The Case of Hildegard of Bingen.” In Proceedings of the 16th International Congress of the International Musicological Society, 646. Edited by David Greer. Oxford: Oxford University Press, 2000.
“Hildegard von Bingen, 1098-1179.” In Reader’s Guide to Music: History, Theory, and Criticism, 304-305. Edited by Murray Steib. Chicago and London: Fitzroy Dearborn Publishers, 1999.
“Pierre de la Rue (ca. 1452-1518)” and “Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439 (‘Basevi Codex’).” In The Treasury of Petrus Alamire: Music and Art in Flemish Court Manuscripts, 1500-1535, 35-37 and 78-79. Edited by Herbert Kellman. Ghent and Amsterdam: Ludion, 1999. Distributed by The University of Chicago Press.
“Listening to Sacred Polyphony.” Early Music 26 (1998): 374-379; 539.
“Se cuer d’amant par soy humilier” (Baude Cordier) and “Voulez ouyr les cris de Paris?” (Clément Janequin). Translations for Anthology of Renaissance Music, 488 and 494. Edited by Allan W. Atlas. New York and London: W.W. Norton, 1998.
REVIEWS AND CONFERENCE REPORTS
Review of Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History, edited by Katelijne Schiltz and Bonnie J. Blackburn, Analysis in Context: Leuven Studies in Musicology 1 (Leuven: Peeters, 2007). Renaissance Quarterly 61 (2008): 984–986.
“After the Party: Hildegard since 1998.” Review of Barbara Stühlmeyer, Die Gesänge der Hildegard von Bingen: Eine musikalische, theologische und kulturhistorische Untersuchung (Hildesheim, Zürich, and New York: Georg Olms, 2003). Early Music 33 (2005): 693–695.
“What Do Musicologists Want? Reflections on IMS 1997.” Current Musicology 63 (1997): 166-168.
Review of Pierre de la Rue, Opera omnia, Vols. 1-3, edited by Nigel St. John Davison, J. Evan Kreider, and T. Herman Keahey, Corpus Mensurabilis Musicae 97 (Neuhausen-Stuttgart: Hänssler for American Institute of Musicology, 1989-1992). Journal of the American Musicological Society 48 (1995): 283-293.
“Report from Madrid. Fifteenth Congress of the International Musicological Society—Mediterranean Musical Cultures and Their Ramifications, 3-10 April 1992: The Fifteenth, Sixteenth, and Seventeenth Centuries.” Current Musicology 54 (1993): 100-101.
Review of Josquin: L’homme armé Masses (The Tallis Scholars), Pierre de la Rue: Messe L’homme armé/Requiem (Ensemble Clément Janequin), and Ockeghem: Missa Prolationum/Marian Motets (The Hilliard Ensemble). Early Music 18 (1990): 315-316.
Review of A Practical Guide to Historical Performance: The Renaissance, ed. Jeffery T. Kite-Powell (Early Music America, 1989). Early Music 18 (1990): 137-138.
Review of In mynen zin, ed. Richard Taruskin; and Myn morken gaf, ed. Richard Wexler (Ogni Sorte Editions, Renaissance Standards, Vols. 8-9). Early Music 15 (1987): 109-110.