| Select the date | Thursday, 13 July | Friday, 14 July | Saturday, 15 July | Sunday, 16 July |
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| 9-11.30 | Music and theatre in late 17th- and early 18th-century France
(and Italy):
(a) Women in 17th-century French musical culture |
Sonata, symphony and concerto in the 17th and early 18th centuries (ii) | Music, rhetoric and iconography in the 17th and 18th centuries |
| 9.00–9.30 | Claire Fontijn
Sapho and the lyre: woman as composers, patrons and performers in Louis XIV's France |
Bella Brover-Lubovsky
Vivaldi's harmony and the paradox of historical recognition |
Kathryn Welter
'So ist denn dies der Tag' The Erbhuldigung of Prince Elector Carl Heinrich of Mainz |
| English music and Purcell: (a) 17th-century singing | |||
| 9.30–10.00 | Lisa Perella
Misogyny and the musiciens of 17th-century France |
Amanda Eubanks Winkler
The effeminacy of erotic melancholy on the Restoration stage |
George King
Henrich Schütz's Saul, Saul: confluences of music and art |
| (b) French opera and comic cantate: birth and parody | (b) Compositional practice and sources | ||
| 10.00–10.30 | John S. Powell
Appropriation, parody, and the birth of French opera: Lully's Les festes de l'amour et de Bacchus and Molière's Le malade imaginaire |
Peter Holman
Compositional choices in Purcell's 'Three parts upon a ground' |
Gregory S. Johnston
The musical box: coffins as locus for performance and composition in early modern Germany |
| 10.30–11.00 | Catherine Gordon-Seifert
Heroism undone in the erotic (manuscript) parodies of Lully's tragédies lyriques |
Mark Humphreys
Works by 'Mr Purcell' — problems of authenticity |
Susanne Dunlap
Susanna and male gaze: the musical 'iconography' of a Baroque heroine |
| 11.00–11.30 |
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| Rhetoric and compositional practice | |||
| 11.30–12.00 | Jean-Paul Montagnier
Charles-Hubert Gervais's Psiché burlesque and the birth of the comic cantate français |
Robert Shay
An unknown Pucell suite at Yale |
Margot Martin
The 17th-century French harpsichord suite and social philosophy: a reexamination of suite organization |
| (c) French and Italian music | |||
| 12.00–12.30 | Rose A Pruiksma
Containing the Italian in Lully's 'Dialogue between French and Italian Music' |
Robert Thompson
'What but the tenderest dearest name of friend': Richard Goodson, Henry Purcell and Christ Church Mus. 117 |
Paul Collins
From stylus phantasticus to stylo phantastico: tracing the 'fantastic' thread in musical style theory from Kircher to Grassineau |
| 12.30–1.00 | (vacant) | Candace Bailey
William Ellis and the transmission of foreign music in England |
(vacant) |
| 1.00–2.00 |
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| 2.00–3.30 | Publications in 17th-century Germany: practice and meaning | Trumpeting and controversies | Monteverdi and his contemporaries: poetics and musical style |
| 2.00–2.30 | (vacant) | Alexander McGrattan
Trumpet music in John Walsh's Harmonia Anglicana |
Antonio Cascelli
Claudio Monteverdi's interpretation of musical narration |
| 2.30–3.00 | Michael Robertson
J.C. Horn's Parergon Musicum and the north German consort suite tradition |
Jeffrey Kurtzman
On musicological method — a response to Peter Downey |
Anne MacNeil
The illness, testament and death of Francesco Gabrieli |
| 3.00–3.30 | Stephen Rose
Rhetorics of authority in the music prints of Johann Hermann Schein |
(vacant) | Andrew Johnstone
Fux’s hidden agenda: modes, cantus firmi and vocal scoring in Gradus ad Parnassum |
| 3.30–4.00 |
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| 4.00–5.30 | Study session | Corelli: Dissemination and influence outside Italy | Italian and Italianate sacred music in the 16th, 17th and early 18th centuries |
| 4.00–4.30 | Elena Sala Di Felice
Francesco Coticelli Paologiovanni Maione Baroque music and themes of contemporary arts. Thoughts on their relationships |
Pablo Rodriguez Fernandez
Corelli's music in the Spanish royal chapel |
Paolo Cecchi
Sin, salvation and divine grace in the madrigale spirituale of the 16th and early 17th centuries |
| 4.30–5.00 | Miguel Ángel Marin
Corelli in the Spanish provinces: the reception of Corelli's sonatas in Jaca |
Linda Maria Koldau
Emulation and development: Giovanni Antonio Rigatti's Messa salmi, parte concertati (1640) and the Selva morale e spirituale (1640/41) of Claudio Monteverdi |
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| 5.00–5.30 | Lowell Lindgren
Nicola Haym (1678–1729), composer and editor of instrumental works |
Metoda Kokole
Production of the early-Baroque sacred monody in the Venetian towns on the north-eastern side of the Adriatic Sea |
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| 6.00–7.00 |
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| 7.15–7.45 |
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| 8.00–9.00 |
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