Beth Lee-De Amici received her AB degree in music from the University of California at Berkeley and her PhD in music history from the University of Pennsylvania. She has taught at the Universities of Michigan, Virginia, and Southern California. A recipient of the AMS-50 Dissertation Fellowship, Dr. De Amici’s primary area of interest is the late Middle Ages. Her work in this field has focused on intersections among musical and religious practice, economics and land tenure, and political concerns in the colleges of Oxford University before the Reformation. Dissertation research at Oxford, where she was a full member of both the University and Wadham College, was funded by the Queen Elizabeth Scholarship. She has published two articles based on that research, one a detailed history of the chapel choir at All Souls College (in Renaissance Studies) and another a history of interactions among Oxford colleges and between the colleges and Oxford town (in the essay collection Music and Musicians in Renaissance Cities and Towns). Her most recent article, which was awarded an AMS publication subvention and published in Journal of Musicology, was an exploration of connections among music, text, and illumination in Ockeghem’s famous puzzle canon, “Prenez sur moy.” Secondary interests include Anglo-American traditional music and dance. During her time at the University of Virginia, she taught a course combining historical study of the topic with practical instruction in various forms of English and American country dance from the seventeenth century to the twentieth.
Dr. De Amici enjoys singing early music, and she has sung with the University of California Chamber Chorus, under the direction of John Butt. Her work as a member of that choir included the recording of Handel’s Theodora with the Philharmonia Baroque Orchestra under the direction of Nicholas McGegan. While at Penn, she sang with the early music vocal ensemble Ancient Voices, directed by Alexander Blachly, and also helped form an early-music vocal trio called Ars Subtilior, which specialized in medieval and Renaissance polyphony. At Oxford, she was a member of both the Wadham College chapel choir and the choir at the University Church of Saint Mary, where she sang Anglican sacred repertory from the late Tudor composers to Stanford and Howells.