My article on a two-stanza pastourelle in Douce 308 has just appeared in Plainsong and Medieval Music. Here with added sound files!
Last month (June 2019), I took part in a two-day performance workshop organised by Joseph W. Mason and attended by various other people I’ve worked with over the past decade or so. I introduced and advised on performances of a song by Blondel de Nesle (people who have heard me sing will be happy to hear that I delegated that task to others far better qualified!). Joe has written an excellent account of the entire event, obviating the need for me to do so here. I refer you enthusiastically to his blogpost, which has embedded audio-visual footage of the public concert that resulted. Enjoy!
My article on three songs by Blondel de Nesle just appeared in Music Analysis.
My review of a very interesting recent edition of motets in Trouvère chansonnier T has just been published.
I can’t tweet this link directly, but OUP allows me to post it here. It should give access to the full text of my review of Motets from the Chansonnier de Noailles. Ed. Gaël Saint-Cricq with Eglal Doss-Quinby and Samuel N. Rosenberg. Pp.192 (A-R Editions, Middleton, Wis., 2017) $360. ISBN 978-0-89579-862-6 in Music & Letters 99/2 (2018), 281-285. Full text link.
Another blog on medieval music!
My co-authored article with French literary scholar Jonathan Morton on the sonic aspects of Richard de Fournival’s Bestiary of Love has just appeared in the journal Romania.
A third post from the performance workshop with graindelavoix, sponsored by the Leverhulme Trust and held at St Hugh’s College, Oxford in March 2017.
A second post from the performance workshop with graindelavoix, sponsored by the Leverhulme Trust and held at St Hugh’s College, Oxford in March 2017.
A first post from the performance workshop with graindelavoix, sponsored by the Leverhulme Trust and held at St Hugh’s College, Oxford in March 2017.
This second year of my Leverhulme project will involve a workshop with performers designed to help me think about my unnotated manuscript in a more musical way.
Elizabeth Eva Leach 