Curriculum vitae dr. Marianne c. E. Gillion

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Universität Salzburg

Erzabt-Klotz-Straße 1, Zi. 2.123

5020 Salzburg


Telephone: +43 (0) 662 8044 4668
My current research involves the technicalities of music printing in sources emanating from German-speaking areas from the late fifteenth to mid-sixteenth centuries. My special focus is on liturgical books, especially on the connections between printed missals and graduals, and printed breviaries and antiphoners. Concurrently I am exploring the plainchant repertoire of early modern Salzburg, particularly the chant used by the Benedictine Order. My doctoral dissertation investigated plainchant revision in graduals printed in the Italian peninsula in the sixteenth and seventeenth centuries, and the interrelationships between sources issued by different publishing firms. Throughout my research I maintain a strong interdisciplinary focus, and I am interested in the use of digital technologies and social media to promote accessibility, public outreach, and engagement.

Doctor of Philosophy in Music (Musicology) University of Manchester (20122015)

Bangor University (20112012)
Dissertation:“Diligentissime emendatum atque correctum’? The Transmission and Revision of Plainchant in Italian Printed Graduals, 1499–1653’
Supervisor: Professor Thomas Schmidt

Master of Arts in Music (Musicology) Bangor University (2010–2011)

Dissertation: ‘Accidental Chant Revision: A case study of accidental use in the Giunta Graduale (1499–1500) edited by Francis of Bruges’

Supervisor: Dr. Christian Leitmeir

Bachelor of Arts Trinity Western University (20062009)

(5-year programme) Royal Welsh College of Music

& Drama (20042006)

Major: Music (Vocal Performance)

  • International Musicological Society Study Group ‘Cantus Planus’

  • Plainsong and Medieval Music Society (PMMS)

  • Gregorian Institute of Canada

  • Royal Musical Association (RMA)


Post-Doctoral Research Assistant Universität Salzburg

Music Printing in German-Speaking Lands: (2016–2018)

From the 1470s to the mid-16th century

Project Leader:
Univ.-Prof. Dr. Andrea Lindmayr-Brandl

Graduate Teaching Assistant
The University of Manchester

School of Arts, Languages and Cultures (20132015)

Project Administrator The University of Manchester

The Production and Reading of Music Sources Bangor University

1480–1530 Project (PRoMS) (20112014)

Principal Investigator/Director:
Professor Thomas Schmidt

Administrator Bangor University

Plainsong & Medieval Music Society (PMMS) (20102012)

Administrative Assistant Masters of Arts in Leadership Program,

Office of the Registrar, &

Academic Advising Office

Trinity Western University (2010)

Teaching Assistant Trinity Western University (2009)

School of Arts, Media and Culture

Tutor/Graduate Teaching Assistant (GTA) The University of Manchester (2013–2015)

Manchester, UK

MUSC 10511: Approaches to Musicology

MUSC 10512:  Music and its Contexts

MUSC 20941:  Words and Music in Renaissance Polyphony
Teaching Assistant Trinity Western University (2009–2010)

Langley, British Columbia, Canada

MUSI 330: Music History to 1600

MUSI 110: Fundamentals of Music

Cantate domino canticum novum? A re-examination of ‘Post-Tridentine’ chant revision in Italian printed graduals’ in The Council of Trent: Reform and Controversy in Europe and Beyond (Göttingen: Vandenhoeck and Ruprecht). (In press – 10,000 words).
Anderson, Michael Alan, St. Anne in Renaissance Music: Devotion and Politics (Cambridge: Cambridge University Press, 2014) – Book review.  Louvain Studies. (In press – 1,000 words).
The Production and Reading of Music Sources – Conference review, Early Music. (Accepted).
‘Eastern Orthodox Spirituality in the Choral Music of Igor Stravinsky’. Choral Journal, 49.2 (2008), 8–25.
‘Text and music carefully corrected’: Chant Revision in Early Modern Italian Printed Graduals’.

Meeting of the International Musicological Society Study Group Cantus Planus. Keough-Naughton Notre Dame Centre at O'Connell House, UCD School of Music, 2–7 August 2016.
‘This burden of correcting’? Chant revision in Italian printed graduals, 1499–1653.

Late Medieval Chant and Monastic Reforms. Georg-August-Universität Göttingen, 19 September 2015.
Retrofitting plainchant: Adaptation and incorporation of liturgical changes in Italian printed graduals. Medieval and Renaissance Music Conference. Université libre de Bruxelles, 7 July 2015.
Identity and difference: Variants in Italian printed graduals, 1499-1653. Print Study Day.  King's College Cambridge, 6 December 2014.
‘Correcting countless errors’: Plainchant revision in Italian printed graduals. Medieval and Renaissance Music Conference.  University of Birmingham, 6 July 2014.
Cantate dominum canticum novum? A re-examination of Post-Tridentine chant revision.  The Council of Trent: Reform and Controversy in Europe and Beyond (1545-1700). Katholieke Universiteit Leuven, 5 December 2013.
Early Modern plainchant as an expression of cultural change: An examination of an eighth-mode tract. Gregorian Institute of Canada Annual Colloquium.  University of British Columbia, 8 August 2013.
Revisions to ‘Ostende Type’ alleluias in Italian printed graduals from the sixteenth and early seventeenth centuries. Medieval and Renaissance Music Conference.  Certaldo, 6 July 2013.
Shall the dead arise and praise you? Revisions to the Missa pro Defunctis in seventeenth century printed graduals. Explorations in Music Theology: History, Theory and Practice.  Durham University, 12 March 2013.
Revelation and Re-evaluation: The Council of Trent, printed graduals, and a post-Epiphany chant.

New Directions in Renaissance Italy.  University of Edinburgh, 2 November 2012.
Shall the dead arise and praise you? Revisions to the Missa pro Defunctis in three seicento printed graduals. Music in the Seicento. RMA Study Day at the University of York, 20 October 2012.
Early Modern chant reform and the feast of Corpus Christi: A case study of four sources. Graduate Students’ Colloquium. Charles University, April 2011.


  • PhD Studentship (Musicology). The University of Manchester, Manchester, England. – Full International Fees & Maintenance Stipend (2012–2014).

  • Parry Williams Postgraduate Prize for Academic Achievement. Bangor University, Bangor, Wales (2011).

  • International Student Bursary (Vocal Performance). Royal Welsh College of Music and Drama (RWCMD), Cardiff, Wales (2004–2006).


  • The Experience of Worship in Late Medieval Cathedral and Parish Church, 2010–2011
    Research project commissioned in 2009 by the joint AHRC/ESRC Religion and Society Research Programme. (

    • Enactments of Lady Mass and Vespers, St. Teilo’s Church (Cardiff, Wales)

    • Member of The Schola of St. Teilo (Bangor, Wales)

  • Trinity Western University, 2006-2009

  • Royal Welsh College of Music and Drama, 2004-2006

    • Soloist

    • RWCMD Choir

  • Pacific Opera Victoria, 2003–2004

    • Chorus member

      • Le Nozze di Figaro (April 2003)

      • Lucia di Lammermoor (October 2003)

      • The Tempest (February 2004)

      • Carmen (April 2004)

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