(as of 18 August, subject to modification)
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| Wolfgang Fuhrmann (University of Vienna): The Salve Regina Ascribed to Dufay - A Milanese Composition? | Rebecca Oettinger (University of South Carolina): Ludwig Senfl, "Wretched Judas," and the Reformation |
| Saskia Rolsma (Opleiding Muziekwetenschap, Utrecht): Singing in the Duomo of Milan | David Skinner (Christ Church, Oxford): Music and the Reformation in the Collegiate Church of St Mary and All Saints, Fotheringhay |
| Christian Leitmeir (Universität München): Jacobus de Kerle (1531/32-1591): A Reactionary Reformer? |
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| Joanna Melville-Richards: Number Symbolism in 14th-century Motets | Fabrice Fitch (Durham): The Cantus Firmus Masses of Alexander Agricola |
| Susan
G. Lewis (Princeton University): The Politics of a Preface: Danish English Court Relations and the Dedications of Giardino novo I-II |
David Mateer (Open University): Structure and Paraphrase in John Sheppard's Mass Be not afraid |
| Jon Banks: Chickens, Eggs, Carts and Horses: The Renaissance Manuscript as a Performance Document | Martin Ham: Crecquillon's Mass Mort m'a privé and the Empress Isabella: A Musical Consolation |
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Manuscripts I: The Netherlands |
Mariology |
| Véronique Roelvink (Utrecht): Music for the Confraternity? 16th-century Music in the Archives of the Illustre Lieve Vrouwe Broederschap in 's-Hertogenbosch and Various Other Locations | Noël Bisson (Cambridge, MA): The Joys of Mary: Gaude Texts in the Eton Choirbook |
| Jacobijn Kiel (University of Utrecht): The Choirbook Toledo F23 | Bonnie Blackburn (Wolfson College, Oxford): Messages in Miniature: Theological Implications in the Alamire Manuscripts |
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| Hendrik van der Werf: Form Analysis of Thirteenth-Century Motets | David Allinson (London): Toward a New View of the Tudor Antiphon |
| Kinuho
Endo (Tokyo National University of Fine Arts and Music): 'Mass Unification in the Early Fifteenth Century: A Case of Arnold de Lantins and Ciconia' |
Panos Vlagopoulos (L. Voudouri Library, Athens): The Anonymous Florence (Magl. III, 70): Some Thoughts on the Meaning(s) of contrapunctus |
| Margaret Duncumb (Clare College, Cambridge): The Text as Structure | Maureen Epp (University of Toronto/Wilfred Laurier University): Popular Arrangements in the Odhecaton, Canti B and Canti C: Redefining the Repertory |
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(University of Massachusetts Boston) |
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| Gregory Myers (Burnaby, British Columbia): Kiev and the Cloisters of Magna Graecia: Liturgical Bridges and Musical Links in the Twelfth and Thirteenth Centuries | Christian Berger (University of Freiburg): Machaut's Ballade Plourez dames in the Light of Real Modality |
| Rebecca Maloy (University of Cincinnati): Toward a Chronology of the Gregorian Offertory Cycle | David Maw (Oriel College, Oxford): Parody Technique in the Secular Songs of Guillaume de Machaut |
| Emma Hornby (Christ Church, Oxford): The Relationship Between Gregorian and Old Roman Chant: A Progress Report | William P. Mahrt (Stanford): Male and Female Voice in Two Virelais of Guillaume de Machaut |
| Elizabeth Eva Leach (St. John's College, Oxford): Authorial Self-Representation in Machaut's Notated Ballades |
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(St. John's College, Oxford) |
| Mitchell Brauner (University of Wisconsin, Milwaukee): Marketing Music in the Age of Incipient Capitalism | Margaret
Bent (All Souls College, Oxford): A new manuscript of chanson texts |
| David Kidger (Oakland University): Willaert, Josquin and the Papal Chapel: A Case of Misidentification, Politics and Musical Reputation | David J. Smith (University Music, Aberdeen, Scotland): Seven Solutions for Seven Problems: The Fitzwilliam Virginal Book |
| Victoria Rowcroft (University of Southampton): Luca Marenzio and Giovanni Battista Moscaglia: Roman Musical Culture in the Late Sixteenth Century | Yolanda Plumley (University College, Cork) and Anne Stone (Queens College, NY): Antiquarianism in the 15th and 19th Centuries and the Ownership of Chantilly 564 |
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| Franz Körndle (Universität München): Lasso's Music for the Theatre |
| Owen Rees (The Queen's College, Oxford): 'Recalling Cristóbal de Morales to Mind': Emulation in Francisco Guerrero's First Motet Collection |
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| Gabriela Ilnitchi (Eastman): Celestial Harmony and Plinian Astronomy in the Eriugenian Commentaries on Martianus Capella's De nuptiis | Jurij Snoj (Institute of Musicology, Slovenian Academy of Arts and Sciences): The Plainchant Manuscripts from the Monastery of Zice |
| Stefano La Via (Università di Pavia): Eros and Thanatos: A Ficinian Reading of Verdelot's Sì lieta e grata morte | Kay Slocum (Capital University): Liturgical Ceremony at Barking Abbey |
| Bruno Bouckaert (Alamire Foundation): Musical Life in the Collegiate Church of Lille |
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| Fiona McAlpine (University of Auckland): Modal Ambiguity and the Phrygian Mode: The Witness of Regino of Prüm | John Milsom: Editing Morley: Introduction and Overview |
| Pavlos Erevnidis (Athens): Aspects of the Theoretical Controversy Concerning the Byzantine Octoechos System of the Early 14th Century | Jeremy Smith (University of Colorado, Boulder): Public Service and Courtly Pressures: A New View of the Publishing History of Morley's Plaine and Easie |
| Michael Friebel (University of Salzburg): Modal Rhythm: The Fourth Mode | Cristle Collins Judd (University of Pennsylvania): Morley's Examples |
| Ruth De Ford (Hunter College, CUNY): Tactus alla breve in Renaissance Theory and Practice | Jessie Ann Owens (Brandeis University): Morley on Cleffing: a Re-evaluation |