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MemberMelanie Marshall

…Edited Books

Melanie L. Marshall, Linda L. Carroll and Katherine A. McIver (eds.), Sexualities, Textualities, Art and Music in Early Modern Italy. Aldershot, UK and Burlington, VT: Ashgate, 2014. 

Iddon, Martin and Melanie L. Marshall (eds.), Lady Gaga and Popular Music: Performing Gender, Fashion and Culture. New York: Routledge, 2014.

Articles and Chapters

Marshall, Melanie L. ‘Voce Bianca: Purity and Whiteness in British Early Music Vocality.’ Women and Music : A Journal of Gender & Culture, 19 (2015), 36-44.

Marshall, Melanie L. ‘Imitating the Rustic and Revealing the Noble: Masculine Power and Music at the Court of Ferrara.’ In Eroticism in Early Modern Music, e…

Melanie is a musicologist with research and teaching interests in gender, sexuality and eroticism in music, and music of early modern Italy. Since joining University College Cork in 2005, Melanie has taught at undergraduate and postgraduate levels within the Music Department and on interdisciplinary programs within the College of Arts, Celtic Studies and Social Sciences. From 2011-2014, Melanie held a Marie Curie International Outgoing Fellowship to conduct research into music and eroticism in early modern Rome. During the fellowship, Melanie spent six months as a Visiting Scholar at UCLA Department of Musicology and eighteen months as a Visiting Scholar at NYU Department of Music. Melanie is also a Visiting Research Fellow at the Centre for the Study of Music, Gender and Identity at the University of Huddersfield.

Memberkatrina

Katrina Grant is an art historian with a background in the study of Early Modern Italy. Her research focuses on gardens and the history of landscapes, as well as the visual culture of theatre and festivals, and the connections between these two areas. Her PhD thesis (University of Melbourne, 2011) focused on the relationship between garden design and theatre in Early Modern Italy. She has published on the gardens of Lucca, history of emotions and set design, and artistic relationships between Britain and Italy in the eighteenth century. She has run the popular Melbourne Art Network website as editor and webmaster since 2010 and she is a founding editor of the online open-access art history journal emaj (emajartjournal.com). She is currently in charge of Marketing and Communications for the Art Association of Australia and New Zealand (AAANZ). She also has a background in educational research, including the use of new technologies for learning and assessment and worked as a Research Fellow at the Australian Council for Educational Research for several years. Her current research focuses on GIS and visualisation technologies and their potential for extending art historical research into new areas. Her main project is Digital Cartographies of the Roman Campagna, which is operating in collaboration with the British School at Rome. This project brings together historical maps with modern mapping technologies to recreate the lost landscape of the Roman Campagna, and draw together data and research from a variety of disciplines, including art and architectural history, social history, cultural geography and the history of climate and ecological change.

MemberLeon Chisholm

…Monograph project

Keyboard Playing and the Reconceptualization of Polyphony in Early Modern Italy

Other current research

Timbral slippage: the organo di legno and the modern sound of Italian Baroque music

Collaborative projects

since 2019:

Epistemic Dissonances. Objects and Tools of Early Modern Acoustics (subproject of Sonderforschungsbereich (Collaborative Research Center) 980 “Episteme in Motion” @ Freie Universität Berlin

Epistemes of Modern Acoustics, Max Planck Institute for the History of Science (Berlin)

2016-19:

Materiality of Musical Instruments, Deutsches Museum (Munich) (Funded by Leibniz Association)

2018:

The Keyboard as a Musical Interface: Material…

Leon Chisholm studied applied music and musicology in Canada and the United States, obtaining a PhD in historical musicology from the University of California, Berkeley in 2015. His dissertation research, funded in part by the Cini Foundation in Venice, concerned the mechanization of polyphonic vocal idioms brought about by the rise of lute and keyboard playing in sixteenth- and seventeenth-century Italy. He is currently a postdoctoral fellow at the Humboldt University Berlin, the Max Planck Institute for the History of Science, and of CRC 980, “Epistemes in Motion,” at the Free University Berlin. Previously, he held postdoctoral fellowships at the Deutsches Museum in Munich and the Italian Academy at Columbia University. Leon is currently at work on projects concerning the social construction of timbre in organ building and the material origins of musical style and concepts in early modern Europe. His book project Keyboard Playing and the Reconceptualization of Polyphonic Music in Early Modern Italy investigates how seminal changes in the concept and structure of polyphony were rooted in a shift of praxis defined by the increasing role of keyboard instruments in composition, teaching, theory, performance, and rehearsal. In addition to his academic research, Leon is a practicing musician specializing in organs and historical keyboards. He is also co-editor of the blog for the History of Music Theory group of the American Musicological Society and the Society for Music Theory.

MemberKatrina Grant

Katrina Grant is an art historian with a background in the study of Early Modern Italy. Her research focuses on gardens and the history of landscapes, as well as the visual culture of theatre and festivals, and the connections between these two areas. She has published on the gardens of Lucca, history of emotions and set design, and artistic relationships between Britain and Italy in the eighteenth century. She has run the popular Melbourne Art Network website as editor and webmaster since 2010 and she is a founding editor of the online open-access art history journal emaj (emajartjournal.com). She is currently a lecturer at the Australian National University in the Centre for Digital HUmanities Research. She is also in charge of Marketing and Communications for the Art Association of Australia and New Zealand (AAANZ). She also has a background in educational research, including the use of new technologies for learning and assessment and worked as a Research Fellow at the Australian Council for Educational Research for several years. Her current research focuses on GIS and visualisation technologies and their potential for extending art historical research into new areas.

MemberPaula Sofia Hohti

I am a historian of material culture, fashion, and everyday life, and an assistant professor of the History of Art and Culture at Aalto University, School of Arts, Design and Architecture, Helsinki. Since I gained by my PhD at the University of Sussex in 2006, supervised by Evelyn Welch, I have held positions at Helsinki Collegium for Advanced Studies, the European University in Florence, Bard Graduate Centre in New York and Center for Textile Research in Copenhagen. I have been a principal investigator in two international projects, The Material Renaissance: Costs and Consumption in Italy 1350-1600 and Fashioning the Early Modern: Creativity and Innovation in Europe, 1500-1800. In 2016, I received a 2m euro ERC grant to study early modern popular fashions and historical and digital reconstruction as a methodology for dress historians.

MemberLorraine de la Verpillière

Lorraine de la Verpillière is a Post-doctoral Research Assistant on the ERC-funded project “Genius Before Romanticism: Ingenuity in Early Modern Art and Science”.
Before coming to CRASSH, Lorraine completed a PhD at the History of Art department in Cambridge, funded by the AHRC, the Cambridge Trust, and Pembroke College’s Lander Studentship in History of Art. Her thesis, entitled ‘Visceral Creativity: Digestion, Earthly Melancholy, and Materiality in the Graphic Arts of Early Modern France and the German-Speaking Lands (c. 1530-1675)’, examines how early modern artists depicted the ‘physiology of creation’, focusing on the lower process of digestion as a natural model of artistic creativity.
Prior to her PhD, Lorraine received a BA and MA in History of Art from the Université Paris 1 Panthéon-Sorbonne, where she researched and published on the artistic patronage of Cardinal Reginald Pole (1500-1558) between Italy and England. Lorraine has a long-standing interest in science as, prior to starting her BA in History of Art, she studied Physics, Chemistry, and Maths in a French classe préparatoire. Recently, she also took part in the Middle French Paleography Workshop organised by The Making and Knowing Project (led by Prof. Pamela Smith) at the University of Columbia in New York, where she received intensive training in Middle French manuscript reading and helped to the translation and digital encoding of BnF Ms. Fr. 640 – a sixteenth-century compilation of technical recipes written by an anonymous French craftsperson. With her colleague, Lizzie Marx, Lorraine co-coordinated the Cambridge History of Art Graduate Research Seminar, Lent term 2018 on the topic of “Art and the Senses.”

MemberMatteo Pangallo

Dr. Pangallo is a former Junior Fellow in the Society of Fellows at Harvard University and currently assistant professor of English at Virginia Commonwealth University. His primary areas of interest are early modern drama and theater history, with a focus upon connections between text, performance, and reception. He also has an interest in dramatic literature generally and the social and intellectual history of the book. His research focuses upon the complex connections between plays and the playhouses from which they emerged – their performance practices, modes of authorship and textual transmission, audiences and experiences of reception, and place within their historical context. As a scholar and a teacher, he is interested especially in the edges of theatrical and literary history, both how those edges transform our understanding of the center and how they can serve as entirely new centers themselves. Dr. Pangallo’s first book, Playwriting Playgoers in Shakespeare’s Theater (2017, University of Pennsylvania Press), focuses upon theatrical audiences and amateur playwriting in early modern England. Currently he is working on two books. “Theatrical Failure in Early Modern England” explores the causes and productive results of aesthetic, commercial, and material failure in domains such as the professional stage, court masque, household entertainment, and university play. “Strange Company: Foreign Performers in Medieval and Early Modern England” surveys the history of performers who toured to England from Spain, Italy, France, Ireland, Scotland, the Ottoman Empire, and elsewhere, establishing the role that they played in the development of early English theatrical culture and situating England’s theatrical Renaissance as one part of a global and more complexly transnational, transcultural theatrical Renaissance. Dr. Pangallo has designed and taught courses in early modern literature, dramatic literature, theater history, and book history at Bates College, Mount Holyoke College, Westfield State University, the University of Massachusetts Amherst, and Salem State University. He has been the recipient of grants from the Bibliographical Society of the United Kingdom, The Malone Society, and the Shakespeare Association of America, as well as a Jack Kent Cooke Foundation Scholarship and Jacob K. Javits Fellowship. Outside of his academic pursuits, Dr. Pangallo is a director and dramaturge and has worked for Salem Theatre Company as its founding artistic director, Rebel Shakespeare Company, and the Globe Theatre in London. He is also an award-winning book-collector.