Christine Getz
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Christine Suzanne Getz (Ph.D., University of North Texas) is a Professor of Musicology, the Associate Director for Graduate Studies in the School of Music, a 2005 College of Liberal Arts and Sciences Dean’s Scholar, and the 2014-2017 Administrative Fellow in the College of Liberal Arts and Sciences at the University of Iowa. Her research interests include music, culture, and sacred music in early modern Milan. Professor Getz has been the recipient of a Rotary Foundation Graduate Fellowship (1988-1989), a NEH Summer Stipend (1993), a NEH Summer Seminar Fellowship (1994), a Fulbright Scholar Grant (1998), an Outstanding Teaching Award from Baylor University (1999), and a Franklin Grant from the American Philosophical Society (2016). Professor Getz is the author of Music in the Collective Experience in Sixteenth-Century Milan (Ashgate, 2006) and Mary, Music and Meditation: Sacred Conversations in Post-Tridentine Milan (Indiana University Press, 2013). The latter book received a subvention from the Hibberd Endowment of the American Musicological Society. She is also the author of Hermann Matthias Werrecore: Cantuum quinque vocum quos motetta vocant…liber primus (1559), an edition of motets with introduction and critical commentary published by A-R Editions in 2008. Her articles have appeared in BACH: Journal of the Riemenscheider-Bach Institute, Explorations in Renaissance Culture, Musica Disciplina, Arte Lombarda, Studi musicali, the Journal of the Royal Music Association, Early Music History (1998 and 2015), Barocco padano vols. 3-7, the MGG, The Strauss Companion (Praeger Press, 2003), Barocco padano e musici francescani: l’apporto dei Maestri Conventuali (Centro Studi Antoniani,  2014), and A Companion to Late Medieval and Early Modern Milan: The Distinctive Features of an Italian State (Brill, 2014). Professor Getz’s forthcoming scholarship includes essays in A Companion to Music at the Hapsburg Courts in the Sixteenth and Seventeenth Centuries (Brill) and Maria «inter» confessiones: Das Magnificat in der frühen Neuzeit (Brepols), as well as an edition of Andrea Cima’s Il secondo libro delli concerti (Milan, 1627) for A-R editions.  She recently began research on a new project tentatively entitled “Economic Partnerships, Marketing Strategies, and International Relations in the Music Prints of Filippo Lomazzo.”