Publications

Books

  1.  Medieval Sex Lives: The Sounds of Courtly Intimacy on the Francophone Borders. (Ithaca: Cornell, 2023).
  2. A Cultural History of Western Music in the Middle Ages (London: Bloomsbury, 2023). Co-edited with Helen Deeming. Vol. 2 in The Cultural History of Western Music, ed. David R. M. Irving and Alexander Rehding. 6 vols. (London: Bloomsbury, 2023).
  3. A Medieval Songbook: Trouvère MS C. (Woodbridge: Boydell, 2022). Co-edited with Joseph W. Mason and Matthew P. Thomson.
  4. Manuscripts and Medieval Song: Inscription, Performance, Context (Cambridge: University of Cambridge Press, 2015). Co-edited with Helen Deeming.
  5. Guillaume de Machaut: Secretary, Poet, Musician (Ithaca: Cornell University Press, 2011). [Winner of the Phyllis Goodhart Gordan Prize of the Renaissance Society of America 2012.] Paperback release, 2014.
  6. Sung Birds: Music, Nature, and Poetry in the Later Middle Ages. (Ithaca: Cornell University Press, 2007).
  7. Citation in Medieval and Renaissance Musical Culture: Learning from the Learned. In Honour of Margaret Bent’s 65th Birthday. Co-edited with Suzannah Clark (Woodbridge: Boydell, 2005).
  8. Machaut’s Music: New Interpretations. Edited (Woodbridge: Boydell, 2003).

Articles

  1. “The Provenance, Date, and Patron of MS Oxford, Bodleian Library, Douce 308”, Speculum 97/2 (2022): 283–321.
  2. “Which Came First: the Demandes d’amours Or the Jeu parti? Evidence from Bodleian Library MS, Douce 308″, Music & Letters 102/1 (2021): 1-29. Abstract here; blogpost here. Open access version  here.
  3. “Ripping Romance to Ribbons: The French of a German Knight in The Tournament at Chauvency”, Medium Ævum 89/2 (2020): 327-49.
  4. “Imagining the un-encoded: staging affect in Blondel de Nesle’s Mes cuers me fait conmencier”, Early Music, 48/1 (2020): 28-40.
  5. “Adapting the Motet(s)? The case of Hé bergier in Oxford MS Douce 308”, Plainsong and Medieval Music 28/2 (2019): 133-147. doi: 10.1017/S0961137119000032. [Read-only PDF here.]
  6. “Do Trouvère Melodies Mean Anything?”,  Music Analysis (2019): 3-46. Winner of the Roland Jackson Award of the AMS.
  7. With Jonathan Morton, “Intertextual and Intersonic Resonances in Richard de Fournival’s Bestiaire d’amour: Combining Perspectives from Literary Studies and Musicology”, Romania 539-540 (2017): 313-351.
  8. with David Fallows, and Kate Van Orden, “Recent Trends in the Study of Music of the Fourteenth, Fifteenth, and Sixteenth Centuries”, Renaissance Quarterly, 68 (2015): 187-227. [Commissioned and introduced by Patrick Macey]. Stable URL: http://www.jstor.org/stable/10.1086/681311; doi: 10.1086/681311
  9. “Early Music and Web 2.0”, Early Music 41 (2013): 134-5. doi: 10.1093/em/cas148.
  10. “Unquiet Thoughts: Spenser, Scudamour, and John Dowland’s First Booke of Songes”, Musicology, Medieval to Modern (2012). Full text of HTML version.
  11. “Seeing Sens: Guillaumes de Machaut and de Melun”, Musicology, Medieval to Modern (2012). Full text of HTML version.
  12. “A Concordance for an Early Fourteenth-Century Motet: Exaudi melodiam/Alme Deus/TENOR Revisited”, Musicology, Medieval to Modern (2011). Full text of pdf version; full text of html version.
  13. “Reading and Theorizing Medieval Music Theory: Interpretation and its Contexts”, Music Theory Spectrum, 33/1 (2011): 90-98. doi: 10.1525/mts.2011.33.1.90
  14. “Music and Verbal Meaning: Machaut’s Polytextual Songs” Speculum 85 (2010): 567-91. doi: 10.1017/S0038713410001302
  15. “Guillaume de Machaut, Royal Almoner: Honte, paour (B25) and Donnez, signeurs (B26) in Context,” Early Music, 38 (2010): 21-42.doi: 10.1093/em/caq006
  16. “Grammar in the Medieval Song-School,” New Medieval Literatures 11 (2009): 195-211. doi: 10.1484/J.NML.1.00590
  17. “Machaut’s Peer, Thomas Paien,” Plainsong and Medieval Music 19 (2009): 1-22. doi:10.1017/S0961137109990027
  18. “Gendering the Semitone, Sexing the Leading Tone: Fourteenth-Century Music Theory and the Directed Progression,” Music Theory Spectrum 28 (2006): 1-21. View abstract. [Winner of Outstanding Publication Award 2007 from the Society for Music Theory (US); Honorable Mention for the Pauline Alderman Award for outstanding research in Women and Music in the category Outstanding Scholarly Article, 2007]. doi: 10.1525/mts.2006.28.1.1
  19. “‘The Little Pipe Sings Sweetly as the Fowler Deceives the Bird’: Sirens in the Middle Ages”, Music & Letters 87 (2006): 187-211.View abstract. [Winner of the Pauline Alderman Award for outstanding research in Women and Music in the category Outstanding Scholarly Article, 2007]. doi:10.1093/ml/gci250
  20. “Learning French from Singing in Fourteenth-Century England,” Early Music 33 (2005): 253-70. doi: 10.1093/em/cah069
  21. “Chanter plus sur l’air de chanter moins: La ballade 12 de Guillaume de Machaut Pour ce que tous,” Analyse Musicale 50 (2004): 77-88, trans. Gilles Dulong. [Originally published in English as a chapter in Machaut’s Music].
  22. “Love, Hope, and the Nature of Merci in Machaut’s Musical Balades Esperance (B13) and Je ne cuit pas (B14)”. French Forum 28 (2003): 1-27. [Link via JSTOR].
  23. “Death of a Lover and the Birth of the Polyphonic Balade: Machaut’s Notated Balades 1-5”. Journal of Musicology, 19 (2002): 461-502. [Link via JSTOR]. View abstract.
  24. “Vicars of Wannabe: Authenticity and the Spice Girls,” Popular Music, 21 (2001): 143-67. [Link via JSTOR]. doi: 10.1017/S0261143001001386
  25. “Machaut’s Balades with Four Voices,” Plainsong and Medieval Music, 10 (2001): 47-79. doi: 10.1017/S0961137101000055
  26. “Counterpoint and Analysis in Fourteenth-Century Song,” Journal of Music Theory, 44 (2000): 45-79. [Link via JSTOR]. doi: 10.1215/00222909-44-1-45
  27. “Interpretation and Counterpoint: The Case of Guillaume de Machaut’s De toutes flours (B31),” Music Analysis, 19 (2000): 321-51. doi: 10.1111/1468-2249.00123
  28. “Fortune’s Demesne: The Interrelation of Text and Music in Machaut’s Il mest avis (B22), De fortune (B23), and Two Related Anonymous Balades,” Early Music History, 19 (2000): 47-79. [Link via JSTOR]. doi: 10.1017/S0261127900001960

Chapters

  1. With Helen Deeming. “Introduction: Music Defined and Distributed in the Western Middle Ages” in The Bloomsbury Cultural History of Western Music in the Middle Ages, ed. Helen Deeming and Elizabeth Eva Leach. (London: Bloomsbury), 1–32
  2. “Seeing Sens: A Picture of Two Guillaumes and Two Brothers?” in Manuscripts, Music, Machaut: Essays in Honor of Lawrence Earp, Jared C. Hartt, Tamsyn Mahoney-Steel, and Benjamin L. Albritton, eds. (Turnhout: Brepols, 2022), 291–307.
  3. “Shared Small Sources for Two Early Fourteenth-Century Metz Chansonniers?” in A Medieval Songbook: Trouvère MS C, Elizabeth Eva Leach, Joseph W. Mason, and Matthew P. Thomson, eds. (Woodbridge: Boydell, 2022), 121–145.
  4. With Mason and Thomson: “Introduction” in A Medieval Songbook: Trouvère MS C, Elizabeth Eva Leach, Joseph W. Mason, and Matthew P. Thomson, eds. (Woodbridge: Boydell, 2022), 1–12.
  5. “Machaut’s First Single-Author Compilation,” in Poetry, Art, and Music in Guillaume de Machaut’s Earliest Manuscript (BnF fr.1586), edited by Lawrence Earp and Jared C. Hartt (Turnhout: Brepols, 2021), 59-92.
  6. “Rupturing Skin Through The Power of Vox,” in The Futures of Medieval French, edited by Jane Gilbert and Miranda Griffin. Woodbridge: Boydell, 2021, 301-313.
  7. “The Middle Ages” in The Oxford Handbook of Western Music and Philosophy, Tomás McAuley, Nanette Nielsen, Jerrold Levinson, and Ariana Phillips-Hutton, eds. (New York: Oxford University Press, 2021), 137-56.
  8. “The Estampies of Douce 308”, in Music and Instruments of the Middle Ages, edited by Tess Knighton and David Skinner. Woodbridge: Boydell, 2020, 77-117.
  9. “Introduction” with Ardis Butterfield and Helen Deeming in The Edinburgh Companion to Literature and Music, ed. Delia da Sousa Correa. Edinburgh: Edinburgh University Press, 2020, 39-47.
  10. “Polytextuality” with Suzannah Clark in The Edinburgh Companion to Literature and Music, ed. Delia da Sousa Correa. Edinburgh: Edinburgh University Press, 2020, 96-110.
  11. “Gender: The Art and Hermeneutics of (In)differentiation” with Nicolette Zeeman in The Edinburgh Companion to Literature and Music, ed. Delia da Sousa Correa. Edinburgh: Edinburgh University Press, 2020, 125-144.
  12. “Vernacular Song III” in The Cambridge History of Medieval Music, 2 vols. eds. Mark Everist and Thomas Forrest Kelly. Cambridge: Cambridge University Press, 2018, vol. 2: 937-973.
  13. “The Genre(s) of Medieval Motets” in A Critical Companion to Medieval Motets, edited by Jared C. Hartt. Woodbridge, Suffolk: Boydell and Brewer, 2018, 15-42.
  14. “Performing Manuscripts” in Performing Medieval Text, ed. Ardis Butterfield, Henry Hope and Pauline Souleau. (Cambridge: Legenda, 2017), 11-19.
  15. “Introduction” with Helen Deeming in Manuscripts and Medieval Song: Inscription, Performance, Context, ed. Helen Deeming and Elizabeth Eva Leach. (Cambridge: Cambridge University Press, 2015), 1-8.
  16. “A Courtly Compilation: The Douce Chansonnier”, in Manuscripts and Medieval Song: Inscription, Performance, Context, ed. Helen Deeming and Elizabeth Eva Leach. (Cambridge: Cambridge University Press, 2015), 221-246.
  17. “Machaut’s First Single-Author Compilation”, in Manuscripts and Medieval Song: Inscription, Performance, Context, ed. Helen Deeming and Elizabeth Eva Leach. (Cambridge: Cambridge University Press, 2015), 247-270.
  18.  “Songs, Scattered and Gathered” with Helen Deeming, in Manuscripts and Medieval Song: Inscription, Performance, Context, ed. Helen Deeming and Elizabeth Eva Leach. (Cambridge: Cambridge University Press, 2015), 271-285.
  19. “The Sound of Beauty” in Beauty, eds. Lauren Arrington, Zoe Leinhardt, and Philip Dawid. The Darwin College Lectures 25 (Cambridge: Cambridge University Press, 2013), 72-98. Publisher’s website. ISBN: 9781107693432. Original podcast version here.
  20. “Poet as Musician,” in A Companion to Guillaume de Machaut. Ed. Deborah McGrady and Jennifer Bain (Leiden: Brill, 2012), 49-66. [Link to Brill website.]
  21. “Form, Counterpoint, and Meaning in a Fourteenth-Century French Song” in Analytical and Cross-Cultural Studies in World Music. Ed. Michael Tenzer and John Roeder (Oxford: Oxford University Press, 2011), 56-97.
  22. “The Fourteenth Century,” in The Cambridge Companion to Medieval Music, ed. Mark Everist. (Cambridge: CUP, 2011), 87-103; notes 382-6.
  23. “Nature’s Forge and Mechanical Production: Writing, Reading, and Performing Song,” in Rhetoric Beyond Words: Delight and Persuasion in the Arts of the Middle Ages. Ed. Mary Carruthers. (Cambridge: Cambridge University Press, 2010), 72-95.
  24. “Dead Famous: Mourning, Machaut, Music, and Renown in the Chantilly Codex,” in A Late Medieval Songbook and its Context: New Perspectives on Codex Bibliothéque du Château de Chantilly, 564.  Ed. Yolanda Plumley and Anne Stone (Turnhout: Brepols, 2009), 63-93. doi: 10.1484/M.EM-EB.3.2661
  25. “Grafting the Rose: Machaut, the Ars Subtilior and the Cyprus Balades,” in Borderline Areas in Fourteenth and Fifteenth-Century Music/Grenzbereiche in der Musik des 14. und 15. Jahrhunderts. Ed. Karl Kügle and Lorenz Welker (Münster and Middleton WI: American Institute of Musicology, 2009), 195-219.
  26. “Machaut’s Balades with Four Voices,” in Ars Nova: French and Italian Music in the Fourteenth Century. Ed. John L. Nádas and Michael Scott Cuthbert. (Aldershot: Ashgate, 2009). [Reprint of 2001 PMM article listed above].
  27. “The Unquiet Thoughts of Edmund Spenser’s Scudamour and John Dowland’s First Booke of Songes,” in “Uno gentile et subtile ingenio”: Studies in Renaissance Music in Honour of Bonnie Blackburn. Ed. Gioia Filocamo and M. Jennifer Bloxam. (Turnhout: Brepols, 2009), 513-20. doi: 10.1484/M.EM-EB.3.2716
  28. “Music and Masculinity in the Middle Ages,” in Masculinity and Western Musical Practice. Ed. Ian Biddle and Kirsten Gibson. (Farnham: Ashgate, 2009), 21-39.
  29. “Popular Music,” in An Introduction to Music Studies. Ed. J. P. E. Harper-Scott and Jim Samson. (Cambridge: Cambridge University Press, 2009), 188-99.
  30. “Vicars of Wannabe: Authenticity and the Spice Girls,” in Critical Essays in Popular Musicology, ed. Allan Moore. (Aldershot: Ashgate, 2007), 541-566. [Reprint of 2001 PM article listed above.]
  31. “Singing More about Singing Less: Machaut’s Pour ce que tous (B12),” in Machaut’s Music: New Interpretations. Ed. Elizabeth Eva Leach. (Woodbridge: Boydell, 2003), 111-24.

Reviews

  1. “Adam de la Halle and Arras”, review of Jennifer Saltzstein, ed., Musical Culture in the World of Adam de la Halle (Leiden: Brill, 2019), Early Music 47/4 (2019): 582–584, https://doi.org/10.1093/em/caz087.
  2. Review of Agostino Paravicini Bagliani, ed., “Ideas of Harmony in Medieval Culture and Society”, Special Issue, Micrologus: Nature, Sciences and Medieval Societies, 25 (2017) in Speculum 94/3: 873-874.
  3. 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.
  4. Review of Andrew Hicks, Composing the World: Harmony in the Medieval Platonic Cosmos. New York: Oxford University Press, 2017 in Speculum 93/2: 516-8.
  5. Review of Le Chansonnier français U, publié d’après le manuscrit Paris BnF fr. 20050, vol. 1, ed. Madeleine Tyssens in Medium Ævum 86/1 (2017), 188.
  6. “Song Texts or Sung Texts in Trecento Italy” Journal of the Royal Musical Association 140/2: 445-449. DOI:10.1080/02690403.2015.1089022.
  7. “Witnesses of Insular Song” [Review of Helen Deeming, Songs in British Sources, c.1150-1300. Musica Britannica 95. London: Stainer and Bell]. In Early Music 42/3 (2014): 475-477. doi: 10.1093/em/cau072. Full text link. Blogpost link.
  8. Review of Jennifer Saltzstein, The Refrain and the Rise of the Vernacular in Medieval French Music and Poetry. (Woodbridge: D.S. Brewer, 2013). In Plainsong and Medieval Music, 23 (2014): 107-115 doi:10.1017/S0961137113000168 Full text link. Blogpost link.
  9. Review of Johannes de Grocheio: Ars Musica. Constant J. Mews et al., eds. Kalamazoo: Medieval Institute Publications, Western Michigan Publications, 2011 in Speculum 88/2 (2013): 530-532. doi: http://dx.doi.org/10.1017/S0038713413001267. Full text. Blogpost link.
  10. Review of Lettres, musique et société en Lorraine médiévale: autour du Tournoi de Chauvency (ms Oxford Bodl. Douce 308), edited by Mireille Chazan and Nancy Freeman Regalado eds. (Genève: Droz, 2012). In French Studies 67 (2013): 244-245. doi:10.1093/fs/knt038  Full text link. Pdf link.
  11. “Song and Subjectivity”. [Review of Judith Peraino, Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut. New York: Oxford University Press, 2011.] In Early Music, 40/3 (2012): 495-498. doi: 10.1093/em/cas069. Full text link. Pdf link. Blogpost link.
  12. Review of David J. Rothenberg, The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music. New York: Oxford University Press, 2011. In Journal of the American Musicological Society, 65/2 (2012): 597-603. doi: 10.1525/jams.2012.65.2.597. Link to stable URL.
  13. “Medieval Repertories” [review of 9 CDs], Early Music 39/4 (2011): 627-629. doi: 10.1093/em/car099. Full text link. Pdf link.
  14. John Haines, Satire in the Songs of Renart le Nouvel. Geneva: Droz, 2010. In Music & Letters, 92/3 (2011), 464-466. doi: 10.1093/ml/gcr027
  15. “Confronting the ‘cyclic’ Mass” [Review of Andrew Kirkman, The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival. Cambridge: Cambridge University Press, 2010.] Early Music 39/1; doi: 10.1093/em/caq105. Full text version. Pdf version. Blogpost link.
  16. Der Mensuralcodex St. Emmeram: Faksimile der Handschrift Clm 14274 der Bayerischen Staatsbibliothek München. Ed. Ian Rumbold, Peter Wright, et al. (Wiesbaden: Reichert, 2006). In Music & Letters, 91/1 (2010): 97-100. doi:10.1093/ml/gcp064
  17. Review of Young Choristers, 650-1700. Ed. Susan Boynton and Eric Rice. (Woodbridge: Boydell: 2008). In Music & Letters, 91/1 (2010): 94-97. doi:10.1093/ml/gcp063
  18. “The Arcane yet Pervasive Art of Canon.” [Review of Canons and Canonic Techinques, 14th-16th Centuries: Theory, Practice, and Reception History. Ed. Katelijne Schiltz and Bonnie J. Blackburn. (Leuven: Peeters, 2007)]. Early Music 36 (2008): 622-5. doi:10.1093/em/can064
  19. Review of Cultural Performances in Medieval France: Essays in Honor of Nancy Freeman Regalado. Ed. Eglal Doss-Quinby, Roberta L. Krueger, and E. Jane Burns. (Woodbridge: Boydell, 2007). In Early Music 36 (2008): 449-51. doi: 10.1093/em/can065
  20. Review of The Old French Ballette: Oxford, Bodleian Library, MS Douce 308. Ed. Eglal Doss-Quinby, and Samuel N. Rosenberg, with notes on the music by Elizabeth Aubrey. (Geneva: Droz, 2006). In Music & Letters 88 (2007): 673-6. doi:10.1093/ml/gcm041
  21. Mary O’Neill, Courtly Love Songs of Medieval France: Transmission and Style in the Trouvère Repertoire. (New York, Oxford University Press, 2006). In Music & Letters 88 (2007): 507-11. doi:10.1093/ml/gcl133
  22. Review of Mary Atchison, The Chansonnier of Oxford Bodleian MS Douce 308: Essays and Complete Edition of Texts. (Aldershot: Ashgate, 2005). In Music & Letters 87 (2006): 416-420. doi:10.1093/ml/gci213
  23. Review of Ciconia: musicien de la transition. Ed. Philippe Vendrix. (Turnhout: Brepols, 2003). In Early Music 32 (2004): 462-3. doi: 10.1093/em/32.3.462
  24. Review of Anne Walters Robertson, Guillaume de Machaut and Reims: Context and Meaning in his Musical Works. (Cambridge: CUP, 2002). In Plainsong and Medieval Music 13 (2004): 95-102. doi: 10.1017/S0961137104210051
  25. Review of Music as Concept and Practice in the Middle Ages. Ed. Reinhard Strohm and Bonnie J. Blackburn. (Oxford:OUP, 2001). In Music & Letters 84 (2002): 274-8. doi:10.1093/ml/84.2.274
  26. Review of Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music. Ed. Paula Higgins. (Oxford: OUP, 1999). In Music & Letters 83 (2002): 443-447. doi:10.1093/ml/83.3.443
  27. Review of Tonal Structures in Early Music. Ed. Cristle Collins Judd. New York: Garland, 1998. In Music Analysis 20 (2001): 269-82. doi: 10.1111/1468-2249.00138
  28. Review of Vincent Arlettaz, Musica Ficta: Une histoire des sensibles du XIIIe au XVIe siècle. (Sprimont:Mardaga, 2000). In Music & Letters 82 (2001): 611-13. [Link via JSTOR]. doi: 10.1093/ml/82.4.611
  29. Review of Mittelalter-Sehnsucht? Texte des interdiziplinären Symposiums zur musikalischen Mittelalterrezeption an der Universität Heidelberg, April 1998. Ed. Annette Kreutziger-Herr and Dorothea Redepenning. (Kiel, 2000). In Music & Letters 82 (2001): 443-5. [Link via JSTOR]. doi: 10.1093/ml/82.3.443
  30. Review of Guillaume de Machaut: Le Livre dou Voir Dit. Ed. and trans. Daniel Leech-Wilkinson and R. Barton Palmer. (New York: Garland, 1998). In Plainsong and Medieval Music, 9 (2000): 62-6.
  31. Review of Counterpoint and Compositional Process in the Time of Dufay: Perspectives from German Musicology. Ed. and trans. Kevin N. Moll. (New York: Garland, 1997). In Plainsong and Medieval Music, 8 (1999): 184-90. doi: 10.1017/S0961137100001704
  32. Review of Bryan Gillingham, The Social Background to Secular Medieval Latin Song. (Ottawa: IMM, 1998). In Music & Letters, 80 (1999): 621-4. [Link via JSTOR]. doi: 10.1093/ml/80.4.621
  33. Review of Thomas Brothers, Chromatic Beauty in the Late Medieval Chanson. (Cambridge: CUP, 1997). InMusic & Letters, 80 (1999): 274-81. [Link via JSTOR]. doi: 10.1093/ml/80.2.274

Dictionary entries and journalism

  1. “L’ars nova francese” in Atlante storico della musica nel medioevo. Eds. Vera Minazzi and Cesarino Ruini. (Milan: Jaca Book, 2011), 240-241.
  2. “Musica, canto degli uccelli, natura” in Atlante storico della musica nel medioevo. Eds. Vera Minazzi and Cesarino Ruini. (Milan: Jaca Book, 2011), 248-249.
  3. “P. des Molins,” Die Musik in Geschichte und Gegenwart, Personenteil 13 (2005):220-221. Link to updated English version.
  4. “Grimace,” Die Musik in Geschichte und Gegenwart, Personenteil 8 (2002):40-2. Link to updated English version.
  5. “La musica è ‘Un’arte che ci sollecita a ridere, cantare e danzare’: Poesia, Musica, Ordine nei manoscritti di Guillaume,” Il Giornale della Musica, Year 16, No. 158 (March, 2000): 20.

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