MISC 9. Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart. Edited by Anna Zayaruznaya, Bonnie J. Blackburn, & Stanley Boorman.: Miscellanea, cartea 9

The dizzying erudition of Alejandro Enrique Planchart is reflected and celebrated in this collection of thirty-six essays offered to him by an international coterie of scholars. Mirroring the dedicatee’s broad interests, the contributions range from the sixth century to the twenty-first, encompassing Europe, Southeast Asia, and North America and exploring music and the people who wrote and performed it. Chant, its transmission, and reform—areas where Planchart’s work has been foundational—are treated in essays by Angelo Rusconi, Luisa Nardini, James Vincent Maiello, Deborah Kauffman, and Rebecca G. Marchand, while James Grier, Thomas Forrest Kelly, Michel Huglo, Barbara Haggh-Huglo, and William F. Prizer explore musical production linked to the cults of saints and confraternities. Renaissance polyphony—another field in which Planchart has been a pioneer—is explored from a range of angles, with Reinhard Strohm, Joshua Rifkin, and Alison Sanders McFarland investigating problems of attribution and the authority of composers. Evan A. MacCarthy, Margaret Bent, Jane Alden, David Fiala, Richard Sherr, and William John Summers afford insight into the the lives of singers, while Alexander Blachly, Agostino Ziino, Robert Nosow, and Jaap van Benthem elucidate the at times promiscuous lives of songs. Leofranc Holford-Strevens, Carolann Buff, and Michael K. Phelps provide generic and ceremonial contexts for the motets of Guillaume Du Fay and his contemporaries, and Kristine K. Forney, Alicia M. Doyle, David Fallows, Sean Gallagher, and Honey Meconi focus on the material traces of liturgical polyphony, songbooks, and motets. Rob C. Wegman, Emily Zazulia, and Bonnie J. Blackburn lend a personal and social frame to the reading of music theory, and Susan Rankin, Jesse Rodin, and Jonathan D. Bellman provide glimpses of the vitality and virtuosity that have undergirded musical and music-theoretical production in the last millennium. Musical offerings by Fabrice Fitch and Richard L. Crocker frame the collection, to which a list of the Publications, Compositions, and Recordings of Magister Alejandro serves as a cauda. For more information, see http://www.corpusmusicae.com/misc/misc_cc009.htm