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(local and regional)
For schools, universities and conservatories with early music programs of study, visit the Early Music Schools page.

Linda Phyllis Austern

Associate Professor, Musicology, Northwestern University School of Music.
Specialist in Renaissance and baroque musical-cultural relations, gender and feminist theory, music as related to visual art and the early history of science.  Recipient of major fellowships and research grants, including American Council of Learned Societies, British Academy, Mary Ingraham Bunting Institute (Radcliffe College/Harvard University), and National Endowment for the Humanities. 
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Linda Phyllis Austern Books

Calvin Bower

Professor Emeritus of Music, Musicology, Department of Music, University of Notre Dame.
Director of Undergraduate Studies in the Medieval Institute, teaches the history of sacred music and the history of music theory in the Middle Ages.  Member of the scholarly team at the Bavarian Academy (Munich) that publishes the Lexicon musicum Latinum, the dictionary of Latin musical terminology of the Middle Ages.  Along with Alexander Blachly, co-founder and co-director of the Schola Musicorum at the Universtiy of Notre Dame.
Photos of Calvin Bower here, here, and here.
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Calvin Bower Books

Thomas Christensen

Professor of Music and the Humanities in the College, Master of the Humanities Collegiate Division, Department of Music, University of Chicago.
Scholarly research centers on the history of music theory.  Fundamental to his work has been a desire to situate the many intellectual frames, arguments and linguistic models used by writers in the early modern period deeply within cultural discourses.  Has also attempted more synthetic surveys of problems in music theory, particularly as editor of the Cambridge History of Western Music Theory (published in 2003). 
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Thomas Christensen Books

Drew Edward Davies

Assistant Professor, Musicology, Northwestern University School of Music.
Specialist in 16th- through 18th-century musics of Latin America and Iberia in global contexts.  Research interests include Spanish viceregal/colonial arts and culture; historiography; cultural studies; medieval music; post-Tridentine church music; 20th-century English art song.
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Drew Edward Davies Books

Martha Feldman

Acting Chair, Professor of Music and the Humanities in the College, Department of Music, University of Chicago.
A cultural historian of European vernacular musics, ca. 1500-1840.  Projects have explored social and political phenomena, artistic production, the senses and sensibilities of listeners, the interplay of myth, festivity, and kingship, and the figure of the musical artist.  Currently working on two books on the castrato as an index of European cultural change between 1560 and 1913. 
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Martha Feldman Books

Mary Frandsen

Associate Professor of Music, Musicology, Director of Resources and Outreach, Department of Music, University of Notre Dame.
Chair, American Heinrich Schütz Society, 2000-2006.  Member of the Board of Directors, Society for Seventeenth-Century Music.  Research interests include:  music of the 17th century, sacred concerto and motet, musical patronage, music and liturgy, and rhetoric and music.  Current project:  Monograph-length study of the emergence of Christocentric devotional texts in the seventeenth-century Lutheran musical repertoire.
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Mary Frandsen Books

Robert Kendrick

Professor of Music, Department of Music, University of Chicago.
Works largely in early modern music and culture, with additional interests in Latin American music, musical and visual culture, historical anthropology, and early modern literature.  At Chicago is also chair of the Committee on the History of Culture, and affiliated faculty for the Romance Language Department (Italian, French, Spanish, Catalan), the Center for Gender Studies, and the Center for Latin American Studies. 
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Robert Kendrick Books

Anne Walters Robertson

Claire Dux Swift Distinguished Service Professor of Music and the Humanities in the College, Department of Music, University of Chicago.
Writes on subjects ranging from the plainchant of the early church to the Latin and vernacular polyphony of the late middle ages.  In her work, liturgical and secular music, and often the interactions of the two, mirror theological and courtly ideas and shape the development of medieval spirituality and personal devotion, architecture, institutional identity, and politics. 
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Anne Walters Robertson Books