Esperanza Rodríguez-García

After studying music performance and history in Valencia (Spain), she graduated in musicology in Barcelona (Spain), and continued her postgraduate studies in Manchester (UK). Her PhD (2010), funded by the AHRC and the University of Manchester, reviews the Roman musical scene in the late sixteenth-century through the circles of musicians associated to the cardinalate. It also illuminates conflicts that ‘otherness’ creates in historiography. After holding research positions at the IMR-University of London (as an Early Career Research Associate) and the British Library-RHUL (as a researcher on the project ‘Early Music Online’), she obtained a ‘Leverhulme Early Career Research Fellowship’ at The University of Nottingham. She is currently finishing the main output of the project, a monograph that examines the interrelations between authorship and printing in the sixteenth century and focuses on the composer Tomás Luis de Victoria as a case-study. She is also a researcher in the project ‘Le lexique musicale de la Renaissance’ (on lexicology of Spanish music theory), supported by the French Centre National de la Recherche Scientifique, and continues her research on urban music, technology and mediality as a Research Associate at the University of Nottingham. She has published on different aspects of music of the Early Modern period, including one music edition, one book and various articles on musical sources, musical institutions and their repertoires, and historiography. Her latest contribution (‘Authors, Books, and Readers: Tomás Luis de Victoria’s Missae, magnificat, motecta, psalmi et alia [1600]’) will appear in the volume Makers, Owners and Users of Music Sources Before 1600 [ed. Tim Sheppard and Lisa Colton, Brepols, 2017]. She is also co-editing the book Mapping the post-Tridentine motet [Routledge, 2017].