Michael Alan Anderson
Associate Professor of Musicology
Artistic Director, Schola Antiqua
Managing Editor, The Eastman Case Studies series
Faculty Associate, Susan B. Anthony Institute
Faculty Affiliate, Humanities Center, University of Rochester
Michael Alan Anderson specializes in a wide range of issues related to sacred music from the fourteenth through the sixteenth century, with emphasis on lay devotion and saints. 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 in 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 2017, he received a Humanities Project grant from the University of Rochester, which allowed for a symposium on machine-reading and crowd-sourced indices of medieval music manuscripts. Anderson also received the University of Rochester’s Provost Multidisciplinary Award in 2013, 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, Anderson has written ten case studies and overseen the publication of more than two dozen essays examining business administration issues in musical arts organizations across the country. He further sits 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) and that 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 his primary field.
In 2008, Anderson was named artistic director of Schola Antiqua, a Chicago-based professional vocal ensemble specializing in music before 1600, which he co-founded in 2000. 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. Under his leadership, the group has arranged collaborations with major art and library exhibitions at museums including The Met Cloisters, the Morgan Library & Museum, The Newberry Library, and the Art Institute of Chicago. Schola Antiqua’s albums have been released on the NAXOS and Discantus labels, and the ensemble has recorded music for academic publications, including Margot Fassler’s Music in the Medieval West (W.W. Norton, 2014). Schola Antiqua’s music from commercial albums has aired regularly on the nationally syndicated broadcasts of With Heart and Voice, Millennium of Music, and Harmonia and has been widely reviewed.
Works / Publications
- St. Anne in Renaissance Music: Devotion and Politics. Cambridge University Press, 2014. Chapter 1 – sample • Review in Speculum • Review in Music & Letters • Review from Renaissance Quarterly • 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
- “Magnificat – Christianity – Medieval Times and Reformation Era,” in the Encyclopedia of the Bible and Its Reception, 30 vols. (Berlin: Walter de Gruyter), vol. 17, forthcoming.
- “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
- “Name Calling: The Rebranding of Artis–Naples” (Rochester: Institute of Music Leadership, 2018)
- “Succession Planning at Art of Elan” (Rochester: Institute of Music Leadership, 2018)
- “The Sphinx Organization and the Diversity Marketplace” (Rochester: Institute of Music Leadership, 2018)
- “Composer Marc Mellits” (Rochester: Institute of Music Leadership, 2018)
- “After Monetization: The New Recording Landscape for Artists” (Rochester: Institute of Music Leadership, 2017)
- “My House is Your House: Groupmuse’s Revival of Chamber Music” (Rochester: Institute of Music Leadership, 2017)
- “Building on Trust at the New World Symphony” (Rochester: Institute of Music Leadership, 2017)
- “No Place Like Home: The Industry at a Crossroads” (Rochester: Institute of Music Leadership, 2017)
- “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
- Kevin Holzman, “soundSCAPE: Competitive Advantage in Diversity” (Rochester: Institute of Music Leadership, 2018)
- Benjamin Johns, “Small Town, Big Prize: Building the Audience for the MostArts Festival” (Rochester: Institute of Music Leadership, 2018)
- Myles Boothroyd, “Preparing Tomorrow’s Musicians with Astral Artists” (Rochester: Institute of Music Leadership, 2018)
- Eric Michael Laprade, “Sustaining ImagineARTS at South Shore Conservatory” (Rochester: Institute of Music Leadership, 2018)
- Caroline Sonett, “Musical Mentors and the Plight of Autonomy” (Rochester: Institute of Music Leadership, 2018)
- Myles Boothroyd, “The Artist-Staff Model of the International Contemporary Ensemble” (Rochester: Institute of Music Leadership, 2018)
- Eric Michael Laprade, “Expanding Musical Explorers at Carnegie Hall” (Rochester: Institute of Music Leadership, 2017)
- Phil Pierick, “Omaha Under the Radar: Localizing an Experimental Arts Festival” (Rochester: Institute of Music Leadership, 2017)
- Blaire Koerner, “Musical Chairs: Rostering Break of Reality” (Rochester: Institute of Music Leadership, 2017)
- Eric Michael Laprade, “Laying the Foundation at the San Francisco Girls Chorus” (Rochester: Institute of Music Leadership, 2017)
- Blaire Koerner, “Getting on Board with National Sawdust” (Rochester: Institute of Music Leadership, 2017)
- Phil Pierick, “Texas Music Educators Association: The Art of Legislating Arts Education” (Rochester: Institute of Music Leadership, 2017)
- 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)
- Music and Society (800-1750)
- Citation and Authority (800-1750)
- Musical Borrowing
- Music in the Middle Ages
- Music in the Renaissance
- Music in 19th c. U.S.A.
- Music of the Hours
- Music of Marian Devotion
- 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)