Ursula Günther (15 June 1927 – 20 or 21 November 2006) was a German musicologist specializing in the fourteenth and early fifteenth centuries and the music of Giuseppe Verdi. She coined the term , to categorize the rhythmically complex music that followed . Life Ursula Günther was born Ursula Rösse in Hamburg. After studying piano with D. Kraus and H. E. Riebensahm and music theory with H. Stahmer in Hamburg, she graduated with a music teacher's degree in 1947. From 1948 she studied music with Heinrich Husmann at the University of Hamburg along with other subjects such as art history, German and Romance Literature, philosophy, psychology, and phonetics. In 1957 at Hamburg she wrote a thesis under the tutelage of Heinrich Besseler on the change in style of the French song in the second half of the fourteenth century which built onto the research of Friedrich Ludwig. With financial support from her husband, encouragement from Gilbert Reaney, Armen Carapetyan, and, from 1962, funds from the German Research Foundation, she took the position as a teacher in Ahrensburg in order to finish her habilitation which had been rejected by some German professors. Encouraged also by Oliver Strunk and Nanie Bridgeman, she joined in 1969 the Centre National de la Recherche Scientifique in Paris as attaché de recherche (researcher) and was promoted as chargé de recherche (research fellow) with Jacques Chailley in 1965, where she taught as a lecturer at the Sorbonne from 1969 to 1971 to prepare her "Doctorat d' état" on Verdi's French years. After obtaining her habilitation in Göttingen in 1972 with an edition of motets of the fourteenth century (published in 1965 by A. Carapetayan in CMM 39), she taught one semester as a lecturer in Göttingen before returning to Paris to resume her work as "chargé de recherche". In the summer of 1973 she was a visiting professor at New York University and was subsequently invited to give lectures by numerous American universities such as Princeton, Harvard, Brandeis, Philadelphia, Maryland, Bloomington, UC Davis, and Los Angeles. She was later appointed as chargé de cours (lecturer) by the Free University in Brussels to teach the history of music notation. In 1973, she turned down an offer from Brandeis University and in 1975 took a job as a lecturer at the University of Göttingen. While she continued to teach in Brussels, in 1977 was appointed professor at the University