Dr Emanuela Vai BA, MMus, MPhil, MEd, PGCert (Cultural Heritage and Museum Studies), PhD

Dr Emanuela Vai
Faculty of History, and Faculty of Music
College office: 
Scott Opler Fellow

Dr Emanuela Vai was awarded her PhD at the University of St Andrews and has since held postdoctoral research positions at the University of Cambridge and the Centre for Renaissance and Early Modern Studies at the University of York. Before coming to Oxford, she was Hanna Kiel Fellow at the Harvard University Centre for Renaissance Studies at Villa I Tatti.

Research interests: 

Emanuela works at the intersection of art and architectural history, soundscape studies and musicology. 

Selected publications: 

She has published on a range of subjects focusing on the relationships between architecture and music and the material, spatial and sensorial dimensions of Renaissance social life. Her essays and articles have appeared or are forthcoming in publications by Bibliotheca Hertziana, Brepols, Olschki and Skira, among others, and in journals such as Renaissance Quarterly, Art History and Confraternitas. She has been the recipient of grants and fellowships from the Society for Renaissance Studies, the Royal Historical Society, the Renaissance Society of America, the Kress Foundation, the École Pratique des Hautes Études and the Newton Trust at the University of Cambridge, among others.  Emanuela serves on the scientific committee of Albertiana and Artes Renascentes and she teaches at the Master of Advanced Studies in Renaissance Polyphony Performance at the Conservatorio della Svizzera Italiana. Founder of the Renaissance Musical Instruments Network, she collaborates with the Royal Academy of Music in London and the Museum of Archaeology and Anthropology in Cambridge. Emanuela is the co-author of Reshaping Sacred Space: Liturgy, Patronage and Design in Church Interiors ca. 1500 – 1750 (2015) and she is currently preparing a monograph titled Between Pietas and Magnificentia: Architecture, Music and Sensorial Performance at the Confraternity of the Misericordia Maggiore in the Venetian Terraferma, as well as editing a collection of essays on the material culture of Renaissance music.