Gerhard L. Weinbert Distinguished Professor John L. Nadas

John L. Nádas (Gerhard L. Weinberg Distinguished Professor in the College of Arts and Sciences) was born in Caracas, Venezuela. He received a B.F.A. in music from Tulane University in 1968; an M.A. from Villa Schifanoia (Florence, Italy) in 1975; and a Ph.D. in musicology from New York University in 1985 (Dissertation: “The Transmission of Trecento Secular Polyphony: Manuscript Production and Scribal Practices in Italy at the End of the Middle Ages,” under the direction of Edward Roesner). He taught at the University of California at Santa Barbara in 1982-83 before joining the faculty of the University of North Carolina at Chapel Hill. He has been a fellow of the Harvard Center for Italian Renaissance Studies (Florence, Italy, 1987-88). He was a Visiting Professor at Harvard University during fall 1998. Professor Nádas was Editor-in-Chief of the Journal of Musicology (2000-2008) and a member of the editorial boards of the series Late Medieval and Early Renaissance Music in Facsimile (The University of Chicago Press), the Italian journal Recercare, and the series Ars Nova: Collana di Riproduzioni Fotografiche delle Fonti Italiane del Tre-Quattrocento (Lucca: Libreria Musicale Italiana). His interests include the music of 14th- and 15th-century France and Italy, Monteverdi, and 19th-century Italian opera.

  • Office: 213 Hill Hall
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  • Phone: (919) 360-0897

John Nádas and Andreas Janke, The San Lorenzo Palimpsest: Florence, Archivio del Capitolo di San Lorenzo Ms. 2211, Introductory Study and Multispectral Images, 2 vols., for the series Ars Nova: Collana di riproduzioni fotografiche delle fonti italiane del Tre-Quattrocento (Lucca: Libreria Musicale Italiana) [forthcoming Summer 2016].

John Nádas and Andreas Janke, “New Insights Into the Florentine Transmission of the Songs of Antonio Zacara da Teramo (Studi Musicali, 2015).

John Nádas, “Some New Documentary Evidence Regarding Heinrich Isaac’s Career in Florence,” in Firenze e la Musica: Fonti, Protagonisti, Commitenza: Scritti in Ricordo di Maria Adelaide Bartoli Bacherini, eds. Agostino Ziino, et al, Istituto Italiano per la Storia della Musica (Rome, 2015).

John Nádas and James Haar, “Il ruolo della musica nel Concilio di Firenze,” in Mondo Latino e Civiltà Bizantina: Musica, Arte e Cultura Nei Codici del ‘400, Fonti e Studi per la Storia della Musica Veneta 4, eds. Antonio Lovato and Dilva Princivalli (Padova, 2014).

John Nádas and James Haar, “Florentine Chapel Singers, 1448-1469,” for Certaldo 50 (L’Ars nova italiana del Trecento VIII [Certaldo, 2011]); also appears in Italian translation as “I cantori di San Giovanni a Firenze negli anni 1448-1469” (Rivista Italiana di Musicologia, nuova serie, 2011).

John Nádas and Michael Cuthbert, eds., Ars Nova: French and Italian Music in the Fourteenth Century, Music in Medieval Europe (7 vols.), vol. 6, Thomas F. Kelly series editor (London: Ashgate Publishing, 2009).

John Nádas, “Una riflessione generale sulle nuove fonti musicali a cinquant’anni dall’ inventario di Kurt von Fischer,” paper presented in Padova and Certaldo, Italy in summer 2005; published as an article in L’Ars Nova Italiana del Trecento VII (Certaldo, 2009).

John Nádas and James Haar, “The Medici, the Signoria, the Pope: Sacred Polyphony in Florence, 1432-1448” (Recercare, 2008).

John Nádas and Rena Mueller, eds., De plana Music: A Festschrift in Honor of Edward H. Roesner’s 65th Birthday (American Institute of Musicology, 2008).  The volume contains studies of various aspects of medieval and Renaissance music by sixteen scholars, including Andreas Haug, Bonnie Blackburn, Susan Rankins, Leofranc Holford-Strevens, Michel Huglo, Margaret Bent, Susan Boynton, and Joshua Rifkin.

Member of the Editorial Board of Ars Nova Nuova Serie II: John Nádas, Francesco Facchin, Sean Gallagher, Marco Gozzi, Oliver Huck, Pedro Memelsdorff, and Agostino Ziino.  Margaret Bent, Bologna Q15: The Making and Remaking of a Musical Manuscript, Introductory Study and Facsimile Edition, 2 vols. (Lucca: Libreria Musicale Italiana, 2008).

John Nádas and Margaret Bent, series co-editors:  Reinhard Strohm, The Lucca Choirbook: Lucca, Archivio di Stato, MS 238; Lucca Archivio Arcivescovile, MS 97; Pisa, Archivio Arcivescovile, Biblioteca Maffi, Cartella 11/III, Late Medieval and Early Renaissance Music in Facsimile II (Chicago: University of Chicago Press, 2008).

John Nádas and James Haar, “Johannes de Anglia (John Hothby) in Italy,” Acta Musicologica 79 (2007).

“The Internationalization of the Italian Papal Chapels in the Early Quattrocento,” in “L’Istituzione ‘cappella musicale’ fra corte e chiesa nell’Italia del Rinascimento” (International Conference, Camaiore, Italy, 21-23 October, 2005), ed. Franco Piperno (Florence: Olschki, 2007).

John Nádas and James Haar, “Antonio Squarcialupi – Man and Myth” (Early Music History, 2006).

Co-author of “Two Newly Discovered Leaves of the Lucca Codex” (Studi Musicali, 2005).

Co-author of “Zacara e i suoi colleghi italiani nella cappella papale,” in Antonio Zacara da Teramo e il suo tempo, ed. Francesco Zimei (Lucca: Libreria Musicale Italiana, 2005).

Co-editor of Western Plainchant in the First Millennium: Studies in the Medieval Liturgy and its Music (London: Ashgate Publishing, 2003).

“The Secular Courts of Europe and their Relations with the Papal Chapels During the Period of the Great Schism (1378-1417),” in Studi in onore di Agostino Ziino in occasione del suo 65º compleanno, eds. Bianca Maria Antolini, Teresa M. Gialdroni, Annunziato Pugliese (Lucca: Libreria Musicale Italiana, 2003).

Contributor to the new edition of The New Grove Dictionary of Music and Musicians (2001).

“A Cautious Reading of Simone Prodenzani’s Il Sollazo e il Saporetto” (Recercare 10 [In Memoria di Nino Pirrotta], 1999).

Co-author of “The Papal Chapels and Italian Sources of Polyphony During the Great Schism,” in Papal Music and Musicians in Medieval and Renaissance Rome, ed. Richard Sherr (Oxford University Press, 1998).

Co-author of “Verso uno stile ‘internazionale’ della musica nelle capelle papali durante il Grande Scisma (1378-1417): il caso di Johannes Ciconia da Liège,” in Capellae Apostolicae Sixtinaeque Collectanea Acta Monumenta III (1994).

Co-author of Il Codice Squarcialupi (Lucca: Libreria Musicale Italiana, 1993).

“Manuscript San Lorenzo 2211: Some Further Observations,” L’Ars nova italiana del Trecento, 6 (Certaldo, 1992).

“Song Collections in Late-Medieval Florence,” in Atti del XIV Congresso della Società Internazionale di Musicologia, “Trasmissione e recezione delle forme di cultura musicale, Bologna, 27 August – 1 September 1987” (Turin, 1991).

Co-author of The Lucca Codex (Codice Mancini): Introductory Study and Facsimile Edition (Lucca: Libreria Musicale Italiana, 1990).

“The Songs of Don Paolo Tenorista: The Manuscript Tradition,” in In Cantu et in Sermone: a Nino Pirrotta nel suo 80° compleanno, Italian Medieval and Renaissance Studies 1 (University of Western Australia, Nedlands), eds. Fabrizio della Seta and Franco Piperno (Florence: Olschki, 1989).

Co-author of “Magister Dominus Paulus Abbas de Florentia: New Documentary Evidence” (Musica Disciplina, 1988).

“Pre-1869 Revisions of La Forza del destino,” Verdi Newsletter, 15 (1988).

“The Reina Codex Revisited,” in Essays in Paper Analysis, ed. Stephen Spector (Washington: The Folger Shakespeare Library, 1987).

“New Light on Magister Antonius Dictus Zacharias de Teramo” (Studi Musicali, 1986 and 1987).

Appendix – Documents and Letters [prepared in conjunction with David Rosen and Andrew Porter], The Macbeth Sourcebook (W. W. Norton, 1984).

“A Newly Discovered Trecento Fragment: Scribal Concordances in Late-Medieval Florentine Manuscripts” (Early Music History, 1983).

“The Structure of Manuscript Panciatichi 26 and the Transmission of Trecento Polyphony” (Journal of the American Musicological Society, 1981).