Giuseppe Gerbino joined the Columbia faculty in 2001. His research interests include the Italian madrigal, the relationship between music and language in the early modern period, early opera, and Renaissance theories of cognition and sense perception. He is the author of Canoni ad Enigmi: Pier Francesco Valentini e l'artificio canonico nella prima metà del Seicento (Rome, 1995), and Music and Myth of Arcadia in Renaissance Italy (Cambridge, 2009), which won the 2010 Lewis Lockwood Award of the American Musicological Society. His publications have appeared in the Journal of Musicology, the Journal of Medieval and Early Modern Studies, The Musical Quarterly, Studi Musicali, and Il Saggiatore Musicale. He has received grants and fellowships from the American Musicological Society, the Harvard Center for Italian Renaissance Studies (Villa I Tatti), the Renaissance Society of America, the Mellon Foundation (Newberry Library), the American Philosophical Society, and the Italian National Research Center (CNR). He served on the Governing Board of the Columbia Society of Fellows in the Humanities, and he is currently a member of the Advisory Committee of the Harvard Center for Italian Renaissance Studies (Villa I Tatti). In 2013 Columbia has honored him with the Lenfest Distinguished Faculty Award. Established on a donation from trustee Gerry Lenfest (Law '58), the Lenfest award recognizes faculty who demonstrate unusual merit in scholarship, university citizenship, and professional involvement.
Music and the Myth of Arcadia in Renaissance Italy. Cambridge: Cambridge University Press, 2009. Winner of the Lewis Lockwood Award of the American Musicological Society.
Canoni ed enigmi: Pier Francesco Valentini e l’artificio canonico nella prima metà del Seicento. Rome: Torre d’Orfeo, 1995.
Selected Articles and Book Chapters
“Il Canto di Serafino e il dilemma degli umanisti” in L’Attore del Parnaso: Profili di attori-musici e drammaturgie d’occasione, ed. Francesca Bortoletti (Milan: Mimesis, 2012), 315-344.
“Skeptics and Believers: Music, Warfare, and the Political Decline of Renaissance Italy according to Francesco Bocchi,” The Musical Quarterly 90/3-4 (2007): 578-603.
"Stealing for the Duke: Girolamo Belli’s I furti (1584)," in Fiori Musicali: Liber Amicorum for Alexander Silbiger on his 75th Birthday, ed. Claire Fontijn and Susan Parisi (Sterling Heights, MI: Harmonie Park Press, 2009), 129-163.
“Rimanti in pace: temna stran Arkadije v glasbi in Claudia Monteverdija” [Rimanti in pace: The Dark Side of Arcadia in Marenzio’s and Monteverdi’s Music], trans. Katarina Ster, Historični Seminar 2007, Lubjana, Institute of Musicology, 117-139.
“Early Opera: The Initial Phase (I),” in European Music, 1520-1640, ed. James Haar (Woodbridge: Boydell Press, 2006), 472-480.
“Florentine Petrarchismo and the Early Madrigal: Reflections on the Theory of Origins,” Journal of Medieval and Early Modern Studies 35/3 (Fall 2005): 607-628.
“The Madrigal and Its Outcasts: Marenzio, Giovannelli, and the Revival of Sannazaro’s Arcadia,” The Journal of Musicology 21/1 (2004): 3-45.
“The Quest for the Soprano Voice: Castrati in Sixteenth-Century Italy,” Studi Musicali 32/2 (2004): 303-357.
“Gli arcani più profondi dell’arte: presupposti teorici e culturali dell’artificio canonico nei secoli XVI e XVII,” Il Saggiatore Musicale 2/2 (1995): 205-236.