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Elsa De Luca


Elsa De Luca

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Nota Biográfica:

Elsa De Luca is a music palaeographer, specialising in musical manuscripts from the Iberian Peninsula (X to XV century). In 10/2016 De Luca joined the ‘Early Music Group’ at CESEM to work on the development of the ‘Portuguese Early Music Database’. This appointment follows a previous postdoctoral fellowship at the same centre (05/2011-04/2013) to study the regional interactions between Portugal and northern France and implement the PEM Database. From 05/2013 to 08/2016 De Luca was postdoc research assistant carrying out palaeographical research into the notation of the León Antiphoner at the University of Bristol. De Luca’s investigation of the notation and her decryption of the cryptography found in the manuscript allowed the Antiphoner to be seen in a completely new light and better understanding of the early history of the manuscript. At present, De Luca is a collaborator on two Canadian research projects: Single Interface for Music Score Searching and Analysis (https://simssa.ca/) and ‘Cantus Ultimus: Building the ideal online plainchant research environment’ (https://cantus.simssa.ca/). De Luca is also a member of the ‘Neumes Interest Group of the Music Encoding Initiative’ (https://lists.uni-paderborn.de/mailman/listinfo/mei-neumes-ig and http://music-encoding.org/). Previously, De Luca collaborated on research projects based in the UK (‘Old Hispanic Office’), Portugal (‘’Musical Exchanges 1100-1650’), France (‘Musique et Musiciens dans les Saintes-Chapelles’), and Italy (RAPHAEL Project). De Luca earned a Ph.D. at the Università del Salento, with a thesis on the thirteenth-century Parisian musical manuscripts in the Archive of San Nicola, Bari (2011). De Luca has extensive experience of musical databases (both data input and quality control) and she was involved in the following databases (selection): ‘Chant Editing and Analysis Program’ (https://neumes.org.uk) (2013-2016); CANTUS Index (http://cantusindex.org/) (2012); PEM Database (http://pemdatabase.eu/) (2011-2013), ‘Cantus Fractus’ (http://www.cantusfractus.org) (2005-2008). De Luca’s musical education started with a Piano Diploma from a conservatoire (1993-2002).


Musical Cryptography and the Early History of the ‘León Antiphoner. Forthcoming in Early Music History 2017

Royal Misattribution: Monograms in the León Antiphoner. Journal of Medieval Iberian Studies, Volume 9, 2017 – Issue 1, pp. 25-51. Available online from: http://www.tandfonline.com/doi/full/10.1080/17546559.2015.1101521: DOI: 10.1080/17546559.2015.110152

Medieval Music Notes as Cryptography (co-authored with John Haines). In: K. Ellison and S. Kim, eds. A Material History of Medieval and Early Modern Ciphers: Cryptography and the History of Literacy. (Material Readings in Early Modern Culture) Routledge. 2017 (forthcoming).

A Methodology for Studying Old Hispanic Notation: Some Preliminary Thoughts. In: Papers read at the 17th Meeting of the IMS Study Group Cantus Planus, Venice, 2014, July 28 – August 1, 2014. Forthcoming.

Rhythmic And Proportional Hidden or Actual ELements in Plainchant: computerized census and integral restoration of a neglected musical repertoire [RAPHAEL project]  (co-authored with Valentina Marangi)In: R. Dalmonte – F. Spampinato, eds. Il ‘nuovo’ in musica e in musicologia: estetiche tecnologie linguaggi. Atti del convegno trento, 18-20 gennaio 2008. Lucca: LIM, 2009, pp. 247-252.

Il canto dell’Exultet nella liturgia beneventana. Rivista Internazionale di Musica Sacra, 2008, 29 (1), pp. 63-104.

Referência da Bolsa: FCSH/CESEM/EAT/00693
Grupo de Investigação:

Estudos de Música Antiga

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