Location: Bowdoin / Cristle Collins Judd

Music

Cristle Collins Judd

Dean for Academic Affairs and Professor of Music Emerita

Contact Information
cjudd@bowdoin.edu




Cristle Judd

Education

B.M., magna cum laude; M.M., Rice University
M.Mus., with distinction; Ph.D., King's College, University of London

Cristle Collins Judd served as Dean for Academic Affairs and Professor of Music at Bowdoin from 2006 to 2015. As the chief academic officer of the College she was responsible for the faculty, curriculum, academic departments and programs, library, museums, and all aspects of support for the academic program.  Prior to her appointment at Bowdoin, Judd was a member of the faculty of the University of Pennsylvania for thirteen years.

Judd presently serves as a senior program officer at the Andrew W. Mellon Foundation. President Barry Mills highlighted Judd's accomplishments during her tenure in a letter to the Bowdoin community and the Board of Trustees awarded her emerita status.   

Judd is a music theorist with special interests in the analysis of early music, music of Renaissance, and the history of music theory. Her research has been supported by grants from the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Judd is the author of several articles on the motets of Josquin des Prez and the editor of Tonal Structures in Early Music (Garland, 1998) for which she received the Emerging Scholar Award from the Society for Music Theory. Subsequently, her work has been in the area of history of music theory. Her book, Reading Renaissance Music Theory: Hearing with the Eyes (Cambridge University Press, 2000), received the Wallace Berry Award from the Society for Music Theory for a distinguished book on a music theoretic topic. She has published numerous articles on the relationship of theory and practice in the compositions and writings of Gioseffo Zarlino. Her editions of motets by Zarlino appear in the series Recent Researches in Music of the Renaissance and she has collaborated with some of the foremost early music groups in producing recordings of these editions including a recent release by the German group Singer Pur: Gioseffo Zarlino, Modulationes sex vocum. In 2011 she gave the plenary keynote address for the annual meeting of the Society for Music Theory and she is the editor of Musical Theory in the Renaissance (London:Ashgate, 2013). 

An award-winning instructor, Judd has taught courses and independent studies in introductory to advanced music theory; topics in music of the Renaissance; musicianship; counterpoint; and chamber music.

Cristle is married to Robert Judd, a musicologist and Executive Director of the American Musicological Society. They have three daughters: Sarah (Harvard '19), Hannah (University of Pennsylvania '17), and Katie (Wellesley '11, M.A., Universidade de Brasilia).

Books, Edited Volumes, and Music Editions

renaissance theory cover

Reading Renaissance Music Theory: Hearing with the Eyes (Cambridge: Cambridge University Press, 2000), xxiv + 339. Winner of the 2001 Wallace Berry Award, Society for Music Theory. Reviews include Early Music, Early Music History, Journal of the American Musicological Society, Music Theory Spectrum, Musical Times, Muziektheorie, Renaissance Quarterly, Renaissance Studies and Sixteenth Century Journal.

renaissance theory cover

Musical Theory in the Renaissance (London: Ashgate, 2013).  Anthology. Editor and Introduction, xiii-xxx.

Tonal Structures Cover

Tonal Structures in Early Music (New York: Garland Publishing, 1998 [paperback 2000]), xi + 402. Editor. “Introduction: Analyzing Early Music,” 3–13. “Josquin’s Gospel Motets and Chant-Based Tonality,” 109–54. Winner of the 1999 Emerging Scholar Award, Society for Music Theory. Reviews include Music Analysis, Music Library Association Notes, Music and Letters, Music Theory Spectrum and Renaissance Quarterly.

motets from 1549

Gioseffo Zarlino, Motets from the 1560s. Introduction and critical edition with Katelijne Schiltz, Recent Researches in Music of the Renaissance, (Madison, WI: A-R editions, 2015). [Companion recording: Gioseffo Zarlino, Modulationes sex vocum, Singer Pur, Oehms Classics (2013).]

Gioseffo Zarlino, Motets from Musici quinque vocum moduli (1549). Introduction and critical edition, Recent Researches in Music of the Renaissance, (Madison, WI: A-R editions, 2007).

Gioseffo Zarlino, Canticum canticorum Salomonis. Introduction and critical edition, Recent Researches in Music of the Renaissance, (Madison, WI: A-R editions, 2006). [Companion recording Gioseffo Zarlino: Canticum canticorum salomonis, Ensemble Plus Ultra, Glossa GDG 921406 (2007).]

Selected Articles and Book Chapters

“To Discourse Learnedly and Compose Beautifully: Thoughts on Zarlino, Theory, and Practice,” Music Theory Online 19.3 (2013).

“‘How to Assign Note Values to Words’: Gioseffo Zarlino’s Pater Noster – Ave Maria (1549 and 1566),” in Musical Implications: Essays in Honor of Eugene Narmour, ed. Lawrence Bernstein and Alexander Rozin (New York: Pendragon, 2013), 225-54.

“Music in Dialogue: Conversational, Literary, and Didactic Discourse about Music in the Renaissance,” Journal of Music Theory 52 (2008 [2009]), 41-74.

Si bona suscepimus: A Complex of Masses and Motets,” in Cristobal de Morales: Sources, Influences, Reception, ed. Owen Rees and Bernadette Nelson (London: Boydall and Brewer, 2007), 123–140.

“Learning to Compose in the 1540s: Gioseffo Zarlino’s Si bona suscepimus,” in Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, ed. Suzie Clark and Elizabeth Eva Leech (London: Boydall and Brewer, 2006), 184–205.

“Renaissance Modal Theory: Theoretical, Compositional, and Editorial Perspectives,” in The Cambridge History of Western Music Theory, ed. Thomas Christensen (Cambridge: Cambridge University Press, 2002), 364–406.

“A Newly Recovered Eight-mode Motet Cycle: Zarlino’s Song of Songs Motets,” Théorie et analyse musicales 1450–1650, ed. Anne-Emmanuelle Ceulemans and Bonnie J. Blackburn (Louvain-le-Neuve, Université Catholique de Louvain, 2001) 229–70.

“The Dialogue of Past and Present:  Approaches to Historical Music Theory,” Intégral 14/15 (2000/2001), 56-63.

“Musical Commonplace Books, Writing Theory, and ‘Silent Listening’: The Polyphonic Examples of Glarean’s Dodecachordon,” Musical Quarterly 82 (1998), 482–516.

“Introduction: Analyzing Early Music,” in Tonal Structures in Early Music, ed Cristle Collins Judd (New York: Garland Publishing, 1998), 3–13.

“Josquin’s Gospel Motets and Chant-Based Tonality,” in Tonal Structures in Early Music, ed Cristle Collins Judd (New York: Garland Publishing, 1998), 109–54. Winner of the 1999 Emerging Scholar Award, Society for Music Theory.

“Reading Aron Reading Petrucci,” Early Music History 14 (1995), 121–52.

“Modal Types and Ut, Re, Mi Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500,” Journal of the American Musicological Society 45 (1992), 428–67.

“Some Problems of Pre-Baroque Analysis:  An Examination of Josquin’s Ave Maria … virgo serena,” Music Analysis 4 (1985), 201-39.

“Josquin des Prez: Salve regina (à 5),” in Mark Everist, ed., Models of Musical Analysis: Music before 1600 (Oxford: Blackwell, 1992), 114-53.

Selected Papers and Invited Lectures

“Modal Theory: 21st-century perspectives on 16th-century Venetian writing about music,” Teoria musicale: L’organizzazione dello spazio sonoro dall’antichità all’età contemporanea, Fondazione Levi, Venice, July, 2016.

 “Morley’s Dialogue: The Intersection of Printing and Pedagogy,” Annual Meeting of the American Musicological Society, Pittsburgh, November, 2013.

 “To Discourse Learnedly and Compose Beautifully:  Thoughts on Zarlino, Theory, and Practice,” Invited Keynote Address, Annual Meeting of the Society for Music Theory, Minneapolis, October 2011.

“Zarlino the Revisionist,” Music und Theorie bei Adrian Willaert und Gioseffo Zarlino, Regensburg, Germany, July 12, 2011.

“‘How to Assign Note Values to Words’: Gioseffo Zarlino’s Pater Noster – Ave Maria (1549 and 1566),” International Conference on Medieval and Renaissance Music, Vienna, Austria, August 8, 2007.

“History of Music Theory: Past, Present, Future,” Panel Session at the Joint Annual Meeting of the American Musicological Society and the Society for Music Theory, Los Angeles, October 30, 2006.

“Learning to Compose in the 1540s:  Soggetti and Musical Borrowing,” International Conference:  Reading and Writing the Pedagogy of the Renaissance, Johns Hopkins University, June 4, 2005.

 “The Diffusion of Musical Knowledge: Anglo-American Theory in the Nineteenth Century,” paper read at the Joint Annual Meeting of the American Musicological Society and the Society for Music Theory, Seattle, November 11, 2004

 “Understanding the Text-Music Relationship in Mid-Sixteenth Century Music:  Learning from Zarlino’s Theory and Practice,” Keynote Address, Coloquio sobre Zarlino y los teóricos, Gijon Spain, July 18, 2004.  Accompanied by the first modern performance of Zarlino’s Canticum canticorum cycle, performed from my editions by Ensemble Plus Ultra.  Subsequent performance with introductory talk:  Annual Meeting of the Renaissance Society of America, Clare College Chapel, Cambridge, April 9, 2005.

“Musical Borrowing and the Si bona suscepimus complex of masses and motets,” International Morales Conference, Oxford University, September 8, 2003.

"Theory Meets Practice Meets Theory: Gioseffo Zarlino and the Song of Songs," Keynote Address, Florida Music Theory Forum, January 19, 2001 (Also read at the University of Chicago, November 17, 2000).

"Music in Dialogue:  Thomas Morley's Plaine and Easie Introduction," International Conference on Medieval and Renaissance Music, Oxford, August, 2000.

“A Newly Recovered Eight-Mode Motet Cycle: Zarlino’s Song of Songs Motets,” Théorie et Analyse Musicales 1450–1650, Louvain-la-Neuve, September 1999; American Musicological Society, Kansas City, November 1999.

“The Hope of Exiles: A Reception History of Josquin’s (?) Magnus es tu Domine,” Princeton International Josquin Conference, October 1999.

“‘Historically-informed’ Analyses?  Labels, Limitations, Liberations,” Eastman School of Music, December 1997.

“Traces of a Theorist Assimilating a Theory:  Musical Citations in Zarlino’s Le Istitutioni harmoniche ,” American Musicological Society and Society for Music Theory, Phoenix, October 1997.

“Musical Commonplace Books, Writing Theory, and ‘Silent Listening”: The Polyphonic Examples of Glarean’s Dodecachordon,” Conference “Music as Heard: 1300–1600,” Princeton, September 1997.

Harmonic Institutions: Theory, Practice, and Printed Repertories,” American Musicological Society, Baltimore, November 1996.

“‘Come manifestamente si comprende...’?  The Music Examples of Pietro Aron’s Trattato (1525),” Conference on Medieval and Renaissance Conference, Glasgow, July 1994.

 “In Principio erat Verbum: Reciting Formulae and Tonal Coherence,” American Musicological Society and Society for Music Theory, Montreal, November 1993.

“Modal Types and Ut, Re, Mi Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500,” American Musicological Society and Society for Music Theory, Oakland, November 1990.

Canticum Canticorum Salomonis Gioseffo Zarlino: Canticum canticorum salomonis. Ensemble Plus Ultra. Glossa GDG 921406 (2007). Edition and liner notes, collaborated on premieres in Gijon, Spain and Cambridge, UK in preparation for the recording.
Zarlino Modulationes Sex Vocum Gioseffo Zarlino: Modulationes sex vocum. Singer Pur. Oehms Classics (2013). Edition and liner notes, collaborated on premiere in Regensburg, Germany in advance of the recording.

Invited keynote address for the plenary session of the Annual Meeting of the Society for Music Theory

2011

Eligible Fellow, Center for the Advanced Study in the Behavioral Sciences, Stanford (Declined)

2005

Recording Subvention (for Ensemble Plus Ultra’s recording of Gioseffo Zarlino, Canticum canticorum), Research Foundation, University of Pennsylvania

2005

Andrew W. Mellon Foundation New Directions Fellowship

2003–2004

Faculty Fellow, Penn Humanities Forum

2002–2003

Wallace Berry Award, Society for Music Theory (for the most distinguished book on a music-theoretic topic)

2001

Dean’s Award for Innovation in Teaching, University of Pennsylvania

2000

Emerging Scholar Award, Society for Music Theory (for the best book or article by a scholar in the early stages of the career)

1999

Publication Subventions, Reading Renaissance Music Theory, Society for Music Theory and Research Foundation, University of Pennsylvania

1999

NEH Fellowship for University Teachers

1998

Faculty Research Fellowship, School of Arts and Sciences, University of Pennsylvania

1997

Publication Subvention, Tonal Structures in Early Music, Research Foundation, University of Pennsylvania

1996

Curriculum Development Awards, University of Pennsylvania

1994-2002

Research Fellowship, University of London

1985-1986

Margaret Hilda Watts Prize, King's College London

1984

Sallie Shepherd Perkins Prize, Rice University

1983

American Musicological Society

Chair, Board Nominating Committee, 2013-2014

Director-at-large, 2004–06

Chair, Board Committee on Communications, 2004-2006

Co-chair, Graduate Education Steering Committee and Co-convenor, Directors of Graduate Studies in Musicology, 2001–03

Editorial Board, Journal of the American Musicological Society, 2001–04

Member of Council, 1994–96

Society for Music Theory

Workshop Director, Graduate Student Workshop Program, Annual Meeting, November 16, 2007

Publications Awards Committee, 2002–04; Chair, 2004

Local Arrangements Co-chair, Annual Meeting, Philadelphia, Nov. 7-11, 2001

Editorial Board, Music Theory Spectrum, 1997–99

Executive Board Member, 1996–98

Conference Organization

Organizer and Host, Annual Meeting of Northeast Deans group, Bowdoin College (November, 2008)

Local Arrangements Co-chair, Society for Music Theory Annual Meeting, Philadelphia, Nov. 7-11, 2001

Conference Organizer, “Tonal Structures in Early Music,” University of Pennsylvania, March 29-30, 1996

Editor of Abstracts, International Musicological Society Symposium, Melbourne, Australia, September 1988

Co-organizer, Conference on Medieval and Renaissance Music, London, 1986

Founder-Organizer, Theory and Analysis Graduate Student Days, semi-annual UK conference, London and Oxford 1985

Other

Panelist and Moderator, “Tenure and the Music Scholar,” Joint Annual Meeting of the Society for Music Theory and the American Musicological Society, Indianapolis (November, 2010); Panelist, Tenure Workshop for chief academic officers and college counsels hosted by United Educators (October, 2008)

Regularly serve on and chair external review committees for undergraduate and graduate music department and program reviews at colleges and universities.

Faculty, Fondazione Levi doctoral seminar, Teoria musicale: L’organizzazione dello spazio sonoro dall’antichità all’età contemporanea, Venice (July 2016).

Faculty, Interlochen Center for the Arts (Summer 2005).

Faculty, Mannes Institute for Advanced Studies in Music Theory (June 2001); Invited participant (2004; 2010).

Editorial Board, Journal of the American Musicological Society, (2001–04); Music Theory Spectrum  (1997–99); College Music Symposium (1997–99).

Grant Reviewer, ACLS (2000–04; 2009-11); Andrew W. Mellon Foundation (2012-14)

Reader of Manuscripts: Journal of the American Musicological Society; Journal of Musicology, Music and Letters, Music Analysis, Music Theory Spectrum, Oxford University Press, Cambridge University Press, McGraw-Hill, and Harcourt-Brace

Regularly serve as external reviewer for tenure and promotion reviews

Reader, Graduate Record Examination in Music (November 1994; January 1996)

Free-lance professional oboist, Houston, TX; London, UK; Melbourne, Australia; Fresno, CA (1981–93)