About the Authors

About the Authors
Maria José Azevedo Santos earned a doctorate in Medieval History at the University of Coimbra (1989) and is professor
of Paleography and Diplomatics, a member of the Institute of Paleography and Diplomatics and a researcher at the Center
of History of Society and Culture at the same university. Head of the Arquivo da Universidade de Coimbra and elected
member of the International Latin Paleography Committee, she has devoted most of her research and teaching to medieval
Latin and Portuguese paleography, diplomatics and codicology, fields in which she has given lectures and seminars at
prestigious European universities and scientific institutions (Universidad Autónoma de Barcelona, the universities of
Alcalá de Henares, León, Salamanca, Louvain la Neuve, and the Czech Academy of Sciences). She has written numerous
pioneering publications in a field of study in which there is a paucity of tradition of research in Portugal, such as De la
visigótica a la carolina. La escritura en Portugal de 882 a 1172 (1994), directed by Manuel C. Díaz y Díaz, with which she
earned her doctorate and which is the first Portuguese work on medieval Latin diplomatics and paleography.
M.ª Dolores Barrios Martínez graduated in arts from the University of Zaragoza, is head of the Archivo General de la
Diputación Provincial de Huesca, and runs the Archivo Capitular of Huesca. Director of the Remembrance Collection of
the Study Institute of Upper Aragón, she specializes in medieval history and has published several works on the history of
Aragón: Libro del Castillo de Sesa (1982), Una explotación agrícola del siglo xiii (Sesa, Huesca) (1983), Mujeres aragonesas del
siglo xi (2004), and Documentos de Montearagón (1058-1205) (2004).
Màrius Bernadó studied music at the Barcelona Conservatory and graduated in Philosophy and Art History
(specialising in Music) from the Universidad Autónoma de Barcelona and in Liturgy from the Faculty of Theology
of Catalonia. A lecturer in the History of Music at the University of Lleida, he works primarily on 15th-16th century
plainsong, especially through the study of liturgical documents. He runs the DeMusica collection of the Reichenberger
publishing house and has published, among other articles, “Sobre el origen y la procedencia de la tradición himnódica
hispánica a fines de la Edad Media” and “Adaptación y cambio en repertorios de himnos durante los siglos xv and xvi:
algunas observaciones sobre la práctica del canto mensural en fuentes ibéricas”. In collaboration with Maricarmen
Gómez Muntané, he edited the Actas del Coloquio Internacional Fuentes Musicales en la Península Ibérica (ca. 1250ca. 1550).
Susan Boynton studied musicology at Yale University, earned a doctorate in Musicology at Brandeis University, an MA
in Medieval Studies at Yale University, and a diploma in Medieval Studies at the Catholic University of Louvain-la-Neuve.
An associate professor in the Department of Music at Columbia University, her main areas of research are Medieval
Latin hymnaries, hymn glosses, monastic consuetudines and liturgical usage at the abbeys of Farfa and Cluny. Among
her publications are “A Lost Mozarabic Liturgical Manuscript Rediscovered. New York, Hispanic Society of America,
B2916, olim Toledo, Chapter Library, 33.2” (2002), “Orality, Literacy, and the Early Notation of the Office Hymns”
(2003), “The Didactic Function and Context of Eleventh-Century Glossed Hymnaries” (2004), “The Theological Role
of Office Hymns in a Ninth-Century Trinitarian Controversy” (2005) and Shaping a Monastic Identity. Liturgy and
History at the Imperial Abbey of Farfa, 1000-1125 (2006). She is currently writing a book on Andrés Marcos Burriel’s
study of the Visigothic manuscripts in the Cathedral of Toledo.
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Eva M.ª Castro Caridad has a doctorate from the University of Santiago de Compostela and is professor of Latin Philology
there. Her doctoral thesis, supervised by professor Manuel C. Díaz y Díaz, focused on the study of the liturgical tropes in
the mass that have survived in Hispanic manuscripts, research that earned her the Extraordinary Doctorate Award. She
has done research at Stockholm and Cambridge universities. Her work has focused on religious poetry, especially liturgical
poetry, and Medieval Latin dramas, fields in which, among others, the following publications stand out: Tropos y troparios
hispánicos (1991), Teatro Medieval 1: El drama litúrgico (1997), and Dramas escolares latinos (siglos xii-xiii) (2001).
Manuel Cecilio Díaz y Díaz has a doctorate in Classical Philology from the University of Madrid and doctorates honoris
causa from the universities of Lisbon, Salamanca, León and Coimbra. He has lectured in Latin Philology at the universities
of Valencia (1953), Salamanca (1956), and Santiago de Compostela (1968-1989), where he is a professor emeritus. A
National Research Prize winner (1998), he has published, among other works, Libros y librerías en la Rioja altomedieval
(1979), Códices visigóticos en la monarquía leonesa (1983), and Manuscritos visigóticos del sur de la Península (1995).
Marco Daniel Duarte is a graduate and doctoral student in the History of Art in the Faculty of Arts at the University
of Coimbra and is a corresponding member of the Portuguese Academy of History and a member of the Department of
Liturgy and Sacred Music of the diocese of Guarda. He has been awarded a scholarship by the Portuguese Ministry of
Science, Technology and Higher Education Foundation for Science and Technology. His area of specialization is religious
art, especially in the fields of iconography and iconology. Among his most important publications are Cunhar e tecer as
cortes de Leiria de 1254 (2006) and Arte sacro en Fátima. Una peregrinación estética (2006).
Maricarmen Gómez Muntané studied Music at the Liceo Conservatory and Musicology at Göttingen University and earned
a doctorate in Philosophy and Letters at the University of Barcelona. She has lectured on Early Music at the Universidad
Autónoma de Barcelona since 1997 and has been visiting professor at Princeton University (1989-1990), at the University
of North Texas (1996) and at the École Normale Supérieure in Paris (2003); Director-at-Large of the International Society
of Musicology (1987-1997) and has collaborated on numerous international studies. Her publications include La música
en la casa real catalanoaragonesa 1336-1432 (1979), which won the National Musicology Prize (1977), El Llibre Vermell de
Montserrat (1990), El Canto de la Sibila (1996, 1997), La música medieval en España (2001), and El Cancionero de Uppsala
(2003). She is currently preparing a critical edition on the musical genre of the ensalada.
Ramón Gonzálvez Ruiz graduated in Ecclesiastical History and Theology from the Gregorian University in Rome,
obtained a diploma in archival studies from the Vatican University, and earned a doctorate in Medieval History at the
Universidad Complutense de Madrid. Emeritus archivist canon at the Cathedral of Toledo and director of the Royal
Academy of Fine Art and Historical Sciences of Toledo, he is professor in the History of the Church at the San Ildefonso
Theological Institute in Toledo, professor at the University College of Toledo and a corresponding member of the
Royal Academy of History (Madrid) and Real Academia de Bellas Artes de Sant Jordi (Barcelona). His main research
area is the medieval history of the Church of Toledo, focusing especially on subjects linked with books, culture, the
Mozarabic liturgy and ethnic-religious minorities. He is the author of Hombres y libros de Toledo (1997) and “Blas Ortiz
y su mundo”. La Catedral de Toledo 1549, según el doctor Blas Ortiz, Descripción Graphica y Elegantissima de la S. Iglesia
de Toledo (1999), and has also supervised and coordinated La Biblia de san Luis de la Catedral de Toledo (2003, 2004)
and Cuatro estudios sobre la imprenta incunable de Toledo (2006). He is currently preparing a book titled Historia de la
Iglesia de Toledo.
Miquel Sants Gros Pujol studied Liturgy and Gregorian Chant at the Advanced Liturgy Institute at the Catholic Institute
in Paris, at the École des Chartes and at the Gregorian Chant Institute also in Paris. A Presbyter in the Bishopric of Vic,
he is currently head of the Archivo-Biblioteca Episcopal in the city and diocese of Vic and chairman of the Catalonian
Society of Liturgical Studies, a branch of the Institute of Catalonian Studies. His main research area is the liturgical history
of the Catalonian/Narbonne tradition, a subject on which he has published widely. He has also edited Els tropers prosers de
la Catedral de Vic (1999).
Barbara Haggh graduated in Germanic Philology from the University of Nebraska-Lincoln, earned a doctorate in Musicology
from the University of Illinois-Urbana, and lectures on Musicology in the School of Music at the University of Maryland. She
has been awarded scholarships by the American Council of Learned Societies (ACLS), International Research and Exchanges
about the authors
(IREX), National Endowment for the Humanities (NEH), American Philosophy Society, the British Academy, the Catholic
University of Louvain, the Leverhulme Trust and the Free University of Brussels, and her research fields focus on Carolingian
theory, early notational systems, the cultural background of Paris in the 13th century, and lost or little-studied musical
repertoires: offices of the saints, late plainsong, urban music, and music on manuscript fragments. She has written more than
fifty articles on medieval sacred monody, the theory of music, urban music, and the Burgundian order of the Golden Fleece.
She has edited the earliest office in honor of St. Isabel of Hungary, and published several books of essays on medieval sources
and musicology, as well as editing a volume in honor of Herbert Kellman on subjects ranging from Norman poetry to the
music of Piazzolla. At the moment she is preparing a monograph on the 9th century treatise, Musica disciplina; several studies
on medieval Marian office; and a study on two ordinarium missals from Ghent and Dijon, as well as an article, together with
Michel Huglo, on the manuscripts of the Sainte-Chapelle in Paris.
Michel Huglo a PhD at the University of Paris IV (Sorbonne) (1969), earned a doctorate in Musicology at the University
of Paris X (Sorbonne, 1981), and is main researcher emeritus at the National Center for Scientific Research (CNRS) in
Paris, which awarded him the Silver Medal for research (1987). Senior research professor of Musicology in the Department
of Musicology and Ethnomusicology at the School of Music of the University of Maryland and corresponding member of
the American Musicological Society (1997), he has been a scientific researcher for the CNRS since 1962 and head researcher
since 1972, founder of the Musicology section at the Text History and Research Institute (IRHT) in Paris (1976), and
professor of Medieval Musical Paleography at the École Pratique des Hautes Études (Paris IV Sorbonne) (1973-1986) and
of Latin Paleography with regard to musical sources at the Free University of Brussels (1974-1987). Visiting Professor at the
University of Vienna (1990) and New York University (1993), and Visiting Mellon Professor at the Institute for Historical
Study at Princeton University (1990-1991), he has also been made a doctor honoris causa by the University of Chicago
(1991). He has written more than two hundred articles on the history and sources of Gregorian chant, the theory of
medieval music, and the primitive organum; among his most important publications are the edition of Le Graduel Romain
2: Les sources, and inventories of processionals and of manuscripts of music theory in the Middle Ages.
Gunilla Iversen has a doctorate in Classical Philology, is professor of Latin and Head of the Latin Department at the
University of Stockholm, and head of the international research project Sapientia and Eloquentia: Meaning and Function
in the Poetry, Music and Drama of the Medieval Latin Liturgy, and in Biblical Commentaries”. She is a specialist in Latin
poetry in the medieval liturgy and is the editor of Studia Latina Stockholmiensia, has edited several volumes in the Corpus
Troporum series, and is currently preparing the edition of tropes of the Gloria in excelsis. She is the author of numerous
studies on Latin poetry in the Middle Ages, Hildegard of Bingen, and Catullus; one of her most important publications is
Chanter avec les anges. Poésie dans la messe médiévale: interprétations et commentaires (2001).
José López-Calo has a degree in Arts from the University of Granada and earned a doctorate in History at the University
of Santiago de Compostela and in Musicology at the Pontifical Institute of Sacred Music in Rome. A Jesuit priest and
professor emeritus of the History of Music at the University of Santiago de Compostela, he is the author of numerous
works and articles especially devoted to music in Spanish cathedrals, and he coedited the Diccionario de la música española
e hispanoamericana (10 vols., 1999-2002). Among his best-known works are several catalogs of cathedral archives, such
as the Catálogo del Archivo de Música de la Catedral de Ávila (1978) and the catalog of the Archivo Capitular of Valladolid
(in press), as well as historical monographs on the Middle Ages and the 17th century, especially La música en la Catedral de
Granada (1963); La música en la Catedral de Palencia (1980); La música medieval en Galicia (1982); Historia de la música
española. Siglo xvii (1983); La música en Galicia (1988); and La música en la Catedral de Burgos (2003).
Shin Nishimagi has a doctorate in Musicology and is a postdoctoral researcher at the École Pratique des Hautes Études
(4th Section) in Paris. He has studied Musicology at Waseda University in Tokyo and has been a Research Fellow of the
Japan Society for the Promotion of Science for Young Scholars. His main research field is the study of manuscript sources,
especially medieval liturgical-musical ones.
M.ª Concepción Peñas García is a lecturer in Music at the Universidad Pública de Navarra. Her main research areas are
the history of sacred peninsular monophony and musical pedagogy. She won the National Musicology prize in 1982 for a
study of music in Spanish evangeliaries. A great expert on the liturgical tradition of the popular repertoire in the kingdom
of Navarre, among her numerous publications are La música en los evangeliarios españoles (1983), Catálogo de los fondos
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musicales de la Real Colegiata de Roncesvalles (1995), Música y tradición en Estella (2000), Los cantorales de Cisneros. Estudio
y presentación del Cantoral (2004), and Fondos musicales históricos de Navarra. Siglos xii-xvi (2004).
Elisa Ruiz García earned a doctorate in Classical Philology at the Universidad Complutense de Madrid. She lectures
on Paleography and Diplomatics at the Complutense and has been a professor of Greek at the INEM. Her main areas
of research deal with the semiotic and anthropological aspects of written culture, codicology, the history of books and
libraries, and the relationship between written culture and religiosity in the 15th century. Her publications include Manual
de codicología (1988); Hacia una semiología de la escritura (1992); Catálogo de la Sección de códices de la Real Academia de la
Historia (1997); Los libros de Isabel la Católica. Arqueología de un patrimonio escrito (2004); and Libro de horas de los retablos.
Ms. Vitr. 25.3 de la Biblioteca Nacional (2005).
Miguel Carlos Vivancos Gómez is a monk at the Monastery of Santo Domingo de Silos (Burgos). He is a graduate in
Theological Sciences of the Faculty of Theology of Northern Spain (See of Burgos) and earned a doctorate in History at the
University of Valladolid. He has been archivist and librarian at the Monastery of Silos and has published numerous works
on medieval documents, the codicology and paleography of mainly Visigothic manuscripts, and various subjects related
to monastic history. His main publications include Documentación del Monasterio de Santo Domingo de Silos (954-1254)
(1988); Glosas y notas marginales de los manuscritos visigóticos del Monasterio de Santo Domingo de Silos (1996); Las glosas
silenses (2001); Biblia de san Luis. Catedral Primada de Toledo (2002); and, in collaboration with Fernando Vilches, La regla
de San Benito. Traducción castellana del siglo xv para uso de los monasterios de San Millán y Silos (2001).
Ludwig Vones has a doctorate in Medieval History from the University of Cologne and is a lecturer there in Medieval
History. His main research areas are the medieval history of France and the Iberian Peninsula, the history of the papacy in the
Middle Ages, especially in Avignon; cultural and religious exchange in the Iberian Peninsula and the Western Mediterranean;
the development and spread of heretical trends and the history of the Staufens and other late-medieval dynasties. He is
currently running the Iberia Pontificia-Provincia Tarraconensis research project, which focuses on identifying the relations
between the Holy See and the dioceses and churches in the ecclesiastical province of Tarraconense until 1198, with a special
emphasis on Catalonia. He is the author, among other publications, of Die ‘Historia Compostellana’ und die Kirchenpolitik
des nordwestspanischen Raumes 1070-1130. Ein Beitrag zur Geschichte der Beziehungen zwischen Spanien und dem Papsttum
zu Beginn des 12. Jahrhunderts (1980); Geschichte der Iberischen Halbinsel im Mittelalter, 711-1480. Reich-Kronen-Regionen
(1993); and Kirchenreform zwischen Kardinalkollegium, Kurie und Klientel (1998).
Susana Zapke graduated in Romance Philology and Musicology at the University of Cologne and earned a doctorate in
Musicology at the University of Hamburg. She studied piano and double bass at conservatories in San Sebastián, Bayonne
and Freiburg. She is a lecturer in Musicology at the universities of Cologne, Stuttgart, Salamanca and Vienna and has been
working as a researcher for the BBVA Foundation since 2003. From 1993 to 1998, her research focused on western sacred
monophony within the framework of the habilitation project promoted by the Deutsche Forschungsgemeinschaft (DFG)
and the Lise-Meitner-Programm (Ministry of Science and Research, Düsseldorf ). Her main fields of research include 9th12th century liturgical-musical sources (with a special emphasis on the Visigothic rite, the transition to the Roman rite and
the new genres of medieval Latin lyric poetry), 15th-16th century poetic-musical compositions and the change in formal and
aesthetic models in the early decades of the 20th century (modernism, second Viennese school). She has published Falla.
Entre la tradición y la vanguardia (1999) and the Spanish version of Constantin Floros’ book Alban Berg-Hanna Fuchs.
Un amor epistolar (2005), and her other publications include El Antifonario de San Juan de la Peña, siglos x-xi (1995), Das
Antiphonar von Santa Cruz de la Serós, xii Jh. (1996) and Fragmentos litúrgico-musicales de la Edad Media en archivos de
Aragón (2007). She is currently preparing a study of Schönberg’s literary works in the context of modernist thought.