(b ?Paris, c1725; d ?Paris, after 1765). French composer. On the title-page of his Missa ‘Laudate pueri Dominum’ (Paris, 1744) he is described as a spé in the choir of Notre Dame, Paris, ‘spé’ being a term often used for the head boy of a choir school kept on by the choirmaster after his voice had broken in order to study composition; he would also act as supervisor and coach to the younger pupils. Hugard would thus have been 18 or 19 years old in 1744. In 1761 Ballard published another mass by Hugard, Redde mihi laetitiam, which he dedicated to ‘the venerable chapter of the cathedral of Paris’. The title-page says nothing about the composer’s function and duties at this date.
The two masses (both for four voices; ed. Centre de Musique Baroque de Versailles, Versailles, 1997) were published in choirbook format by Ballard but are in fact concertante masses requiring organ continuo. They demonstrate all the compositional techniques of the time: homophonic choruses, highly contrapuntal trios and quartets for soloists, short and melodious récits and fine fugues at the end of the Gloria and in the Credo. (D. Launay: La musique religieuse en France du Concile de Trente à 1804, Paris, 1993)
(b London, 16 May 1953). English violinist. She studied at the RAM, London, and with Manoug Parikian, Sigiswald Kuijken and Kato Havas. Specializing in the Baroque violin, she played with the English Concert during the 1970s and was leader of the newly formed Amsterdam Baroque Orchestra from 1980 to 1987. In 1982 she founded Trio Sonnerie with Sarah Cunningham (bass viol) and Mitzi Meyerson (harpsichord). The ensemble made its London début in the same year. More recently, as a larger ensemble, Sonnerie, it has performed orchestral music, sometimes with voices, of the same period. In 1986 Huggett was a founder member of Hausmusik, a group which lays special emphasis on Classical and early to mid-19th-century music. She formed the Greate Consort in 1995. Her solo performances and recordings include Bach’s unaccompanied sonatas and partitas, many concertos of the Baroque period and the violin concertos of Mozart and Beethoven. Warmth of tone and eloquence of phrasing are distinctive features of her playing.
Hugh, Robert ap.
See Robert ap Huw.
(b London, 3 Aug 1937). English musicologist. He took the BA at Oxford in 1960 and the MA and DPhil in 1964, with a dissertation on English sacred music from 1400 to 1450. His first teaching position was at Queen’s University, Belfast (1962–4). He taught at the University of Illinois from 1964 to 1967 and at the University of North Carolina from 1967 to 1969. In 1969 he joined the faculty of the University of Toronto where he became professor in 1975; he was named university professor in 1992. He was awarded a Guggenheim Fellowship in 1973, and from 1976 to 1979 received a grant from the University of Toronto for computer-aided research into the late medieval rhymed Office. His publications Late Medieval Liturgical Offices (Toronto, 1994–6) have made available electronic editions, a word concordance, catalogues of Offices and manuscript sources, and the encoding of several thousand chants. Hughes is also interested in various aspects of English medieval music, including theory, performing practices and musica ficta. His investigations of the Old Hall Manuscript have resulted in a new edition and additional information on the date and provenance of the source, and the influences of French and Italian styles on its music. His book Manuscript Accidentals (1972) is a detailed study of the purpose of accidentals in the Old Hall Manuscript and their use as a practical guide for musica ficta. Hughes has also proposed ideas concerning choral performing practices based on his examinations of the manuscripts.
English Sacred Music 1400–ca.1450 (diss., U. of Oxford, 1964)
‘Mensuration and Proportion in Early Fifteenth-Century English Music’, AcM, xxxvii (1965), 48–61
‘Continuity, Tradition and Change in English Music up to 1600’, ML, xlvi (1965), 306–15
‘Mass Pairs in the Old Hall and Other English Manuscripts’, RBM, xix (1965), 15–27
‘Mensural Polyphony for Choir in 15th-Century England’, JAMS, xix (1966), 352–69
‘New Italian and English Sources of the 14th to 16th Centuries’, AcM, xxxix (1967), 171–82
‘The Old Hall Manuscript: a Re-Appraisal’, MD, xxi (1967), 97–129
with M. Bent: ‘Old Hall: an Inventory’, MD, xxi (1967), 130–47
‘The Choir in Fifteenth-Century English Music: Non-Mensural Polyphony’, Essays in Musicology in Honor of Dragan Plamenac, ed. G. Reese and R.J. Snow (Pittsburgh, 1969), 127–45
‘Ugolino: the Monochord and Musica ficta’, MD, xxiii (1969), 21–39
‘Some Notes on the Early Fifteenth-Century Contratenor’, ML, l (1969), 376–87
‘The Ludus super Anticlaudianum of Adam de la Bassée’, JAMS, xxiii (1970), 1–25
Manuscript Accidentals: Ficta in Focus, 1350–1450, MSD, xxvii (1972)
Medieval Music: the Sixth Liberal Art (Toronto, 1974, 2/1980)
Medieval Manuscripts for Mass and Office: a Guide to their Organization and Terminology (Toronto, 1982)
‘Modal Order and Disorder in the Rhymed Office’, MD, xxxvii (1983), 29–51
‘Antiphons and Acclamations: the Politics of Music in the Coronation Service of Edward II, 1308’, JM, vi (1988), 150–68
‘Chants in the Rhymed Office of St. Thomas of Canterbury’, EMc, xvi (1988), 185–201
Style and Symbol: Medieval Music, 800–1453 (Ottawa, 1989)
‘The Origins and Descent of the Fourth Recension of the English Coronation’, Coronations: Medieval and Early Monarchic Ritual, ed. J.M. Bak (Berkeley, 1990), 197–216
‘Liturgical Drama: Falling between the Disciplines’, The Theatre of Medieval Europe, ed. E. Simon (Cambridge, 1991), 42–63
‘British Rhymed Offices: a Catalogue and Commentary’, Music in the Medieval English Liturgy: Plainsong & Medieval Music Society Centennial Essays, ed. S. Rankin and D. Hiley (Oxford, 1993), 239–84
‘Chantword Indexes: a Tool for Plainsong Research’, Words and Music, ed. P. Laird (Binghamton, NY, 1993), 31–49
‘The Monarch as the Object of Liturgical Veneration’, Kings and Kingship in Medieval Europe, ed. A.J. Duggan (London, 1993), 375–424
‘The Scribe and the Late Medieval Liturgical Manuscript’, The Centre and its Compass: Studies in Medieval Literature in Honor of Professor John Leyerle, ed. R.A. Taylor (Kalamazoo, MI, 1993), 151–224
‘Literary Transformation in Post-Carolingian Saints' Offices’, Saints: Studies in Hagiography, ed. S. Sticca (Binghamton, NY, 1996), 23–50
‘Liturgical Chant: the Office’, NOHM, iii (forthcoming)
Fifteenth Century Liturgical Music, i: Antiphons and Music for Holy Week and Easter, EECM, viii (1968)
with M. Bent: The Old Hall Manuscript, CMM, xlvi (1969–73)