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Nicoletta Guidobaldi

Full Professor

Department of Cultural Heritage

Academic discipline: L-ART/07 Musicology and History of Music

Curriculum vitae

Since 2002 Nicoletta Guidobaldi is Professor of Musicology at Bologna University,  after being Maître de Conférences on Renaissance Music at Tours University.

After a degree in Arts (University of Perugia, dissertation on Two Josquin's "L'homme armé" masses, under the supervision of Pierluigi Petrobelli), and a "Perfezionamento" in Musicology (Bologna University, dissertation on Musical publishing in 17th-Century Umbria, under the supervision of F. Alberto Gallo), Nicoletta Guidobaldi achieved a PhD in Musicology at Bologna University, discussing a dissertation on The Images of music and the musician's portrait (15th-17th centuries), under the supervision of F. Alberto Gallo.

Thanks to a post-doctoral grant of the French Ministry of Education, in 1991 she became fellow of the Centre d' Etudes Supérieures  de la Renaissance (CESR) in Tours, and since then she worked within the Musicology Team (formerly directed by Jean-Michel Vaccaro). Since 1993, as Maître de Conférences, she has also been teaching on Renaissance Music, History of Italian Music and Musical Iconography in the Music Department of the University of Tours. Between 1993-2002 she has been part of the CESR Interdisciplinary Doctoral Programme on Civilisation de la Renaissance and of the Doctoral School on Musique et Musicologie organized by the University of Tours in collaboration with l' Ecole Normale Supérieure and with the Conservatoire Supérieur de Musique in Paris. She has been a member of the CESR Conseil de Perfectionnement and of the Conseil de Laboratoire, and a member of the National Commission des spécialistes for the Historical Disciplines. She has obtained the Habilitation à  diriger des recherches in Musicology (1998) and has subsequentely been qualified as Professeur des Universités; between 2000-2002 she has been accepted as associated scholar within the CNRS (Centre National de la Recherche Scientifique).

Since 2002 up to 2013, within the Alma Mater Studiorum-University of Bologna, she has joined the Doctoral  Board  on Musicology (Doctoral Programme on Musicologia e Beni musicali, since 2010 : Cinema, Musica, Teatro) and, since 2014 up to 2021, she has joined the Doctoral Board on Cultural Heritage Studies (Doctoral Programme on Studi sul Patrimonio culturale); she is currently a member of the Doctoral Board on Cultural Heritage in the Digital Ecosystem (Doctoral Programme on Patrimonio Culturale nell'Ecosistema digitale).  

She has supervised French DEA (Diplôme d'Etudes Approfondies) and French and Italian doctoral dissertations on musical iconography and on various aspects of the musical production and transmission between France and Italy during the Middle Ages and the Renaissance. She has been a member of international and national boards of examiners for DEA,  PhD and Habilitation à  Diriger des Recherches in Musicology in French, Italian and Belgian Universities (Université François-Rabelais and Centre d'Etudes Supérieures de la Renaissance, Tours; Université Libre, Lièges; University of Paris IV-Sorbonne; Alma Mater Studiorum-University of Bologna; University of Padua).

Since 2002 she has been responsible of the Socrates/Erasmus exchanges with the Music Department of Tours University, and is currently in charge for the interdisciplinary Socrates/Erasmus exchanges  with the CESR in Tours and with the Universidad Complutense (Madrid).

From 2002 to 2010, she has been the Faculty delegate within the  convention with the François-Rabelais University in Tours, and has participated to various meetings concerning the process of internationalising the University Teaching, such as that on Construction de l' Espace Européen de l'Enseignement Supérieur : regards d'Europe  (Paris, 2004).

Within the European network coordinated by the CESR in Tours (in cooperation with Katholieke Universiteit, Leuven; Utrecht Universitat; CNRS UMR 200, Parigi; Universidad de Salamanca; Central European University, Budapest; Royal Holloway University of London), she has participated to the Doctoral programme Civilisation de la Renaissance, and has collaborated to the organisation of the International seminars on Musicology  Lire des sources musicales de la Renaissance held in the CESR since 2005.  

Since 2013 she is a member of the Department of Cultural Heritage's committee for the Internationalisation.

Her research interests focus on Musical Iconography and on various aspects of Musical History and Aesthetics during the Middle Ages and the early Modern Times, with a special attention to the Courtly musical imagery, to the cultural transfers between France and Italy, and to the humanistic re-interpretations of Antique musical myths.

She has participated to many international projects and Study Groups, and has directed  various international research projects; has been responsible (since 1993) of the Musical Iconography section within the Ricercar Project of the Centre d'Etudes Supérieures de la Renaissance, Tours (dir : Ph. Vendrix), and (since 1996) of the french-italian programme run by the CESR in collaboration with the Fondazione Levi (Venise). In 2002, within the European project Imagesofmusic-a Cultural Heritage (Cultura 2000), she has been in charge of the French research team, and she has supervised the virtual exibition on Musical Myths from Antiquity to Modern Times.

Since 2002 she regularly organizes international conferences and doctoral seminars, in collaboration with the CESR.  She has planned (with Björn Tammen, Vienna, and Alexandra Voutyra, Thessaloniki), the International Conference on Musical Iconography in the XXI Century. Mapping european art for context and meaning (Ravenna, June 2006), as the foundation meeting of the International Musicological Society Study Group on Musical Iconography.  Since then, as the chair of the Study Group, she has coordinated the international meetings and sessions on Musical Iconography  held in Tours (2006); Zurich (2007); Korfu (2008); Lecce-Galatina (2009); Barcelona (2010); Turin (2011); Rome ( 2012); Lecce (2015).

She has participated to many international programme committees for arranging  conferences and exhibitions in Italy, France, Spain, Austria, Greece, Salvador; she has organized international and national meetings and conferences in Tours (CESR); Ravenna (Departement of Cultural Heritage Studies); Venise (Fondazione Ugo and Olga Levi); Urbino (International courses on Antique music).

She has been a member of the Humanistica. An International Journal of Early Renaissance Studies's Editorial Board (2005-2010), and Consultant Editor of Early music (since 1998);  she is currently a member of Imago Musicae. The International Yearbook of Musical Iconography ‘s Editorial Board, and runs the editorial series Le immagini della musica (Milan, Mimesis).

She has run Ravenna's  Local Unity within the PRIN 2006 (Nuove fonti e prospettive storiche per l'Estetica musicale) and is currently in charge for the project on Musical paintings in the early Renaissance Italian courtly residences, within the  C.I.R.I. 's  Research Team in Ravenna.

As the responsible of the Musical-iconographical Archive created in 2006 in the Department of Cultural Heritage, she has recently arranged (with Francesca Mambelli), the photographic exhibition Musica da vedere (Fondazione Federico Zeri, September- December 2013).

She has published articles and books on Musical Iconography and Aesthetics and on various aspects of Music as a part of Cultural History during the Renaissance, including: La musica di Federico (Firenze, 1995) ; Regards croisés (Tours, 2002) ; Prospettive di iconografia musicale (Milan, 2007); Presenze dell'Antico nell' immaginario musicale del Rinascimento, Bologna, Il Mulino, 2007 ("Musica e Storia" XV/1); L'iconografia musicale in Italia, in Musicologie. I 50 anni della SIdM 1964-2014 (Padova, 2014).

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