Publications

Books

  1. ‘Part I: Literature and Music before 1500’ of The Edinburgh Companion to Literature and Music, ed. Delia da Sousa Correa. Co-edited with Helen Deeming. Edinburgh: Edinburgh University Press, 2020.
  2. Manuscripts and Medieval Song: Inscription, Performance, Context (Cambridge: University of Cambridge Press, 2015). Co-edited with Helen Deeming.
  3. 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.
  4. Sung Birds: Music, Nature, and Poetry in the Later Middle Ages. (Ithaca: Cornell University Press, 2007).
  5. 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).
  6. Machaut’s Music: New Interpretations. Edited (Woodbridge: Boydell, 2003).

Articles

  1. “Imagining the un-encoded: staging affect in Blondel de Nesle’s Mes cuers me fait conmencier“, Early Music, Advance Articles, 28 February 2020.
  2. “Adapting the Motet(s)? The case of Hé bergier in Oxford MS Douce 308″, Plainsong and Medieval Music 28/2: 133-147. doi: 10.1017/S0961137119000032. [Read-only PDF here.]
  3. “Do Trouvère Melodies Mean Anything?” Music Analysis (2019): 3-46.
  4. 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.
  5. 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
  6. “Early Music and Web 2.0,” Early Music 41 (2013): 134-5. doi: 10.1093/em/cas148.
  7. “Unquiet Thoughts: Spenser, Scudamour, and John Dowland’s First Booke of Songes“, Musicology, Medieval to Modern (2012). Full text of HTML version.
  8. “Seeing Sens: Guillaumes de Machaut and de Melun”, Musicology, Medieval to Modern (2012). Full text of HTML version.
  9. “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.
  10. “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
  11. “Music and Verbal Meaning: Machaut’s Polytextual Songs” Speculum 85 (2010): 567-91. doi: 10.1017/S0038713410001302
  12. “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
  13. “Grammar in the Medieval Song-School,” New Medieval Literatures 11 (2009): 195-211. doi: 10.1484/J.NML.1.00590
  14. “Machaut’s Peer, Thomas Paien,” Plainsong and Medieval Music 19 (2009): 1-22. doi:10.1017/S0961137109990027
  15. “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
  16. “‘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
  17. “Learning French from Singing in Fourteenth-Century England,” Early Music 33 (2005): 253-70. doi: 10.1093/em/cah069
  18. “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].
  19. “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].
  20. “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.
  21. “Vicars of Wannabe: Authenticity and the Spice Girls,” Popular Music, 21 (2001): 143-67. [Link via JSTOR]. doi: 10.1017/S0261143001001386
  22. “Machaut’s Balades with Four Voices,” Plainsong and Medieval Music, 10 (2001): 47-79. doi: 10.1017/S0961137101000055
  23. “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
  24. “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
  25. “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. “Introduction” with Ardis Butterfield and Helen Deeming in The Edinburgh Companion to Literature and Music, ed. Delia da Sousa Correa. Edinburgh: Edinburgh University Press.
  2. “Polytextuality” with Suzannah Clark in The Edinburgh Companion to Literature and Music, ed. Delia da Sousa Correa. Edinburgh: Edinburgh University Press.
  3. “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.
  4. “Vernacular Song III” in The Cambridge History of Medieval Music, 2 vols. eds. Mark Everist and Thomas Forrest Kelly. Cambridge: Cambridge University Press, vol. 2: 937-973.
  5. “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.
  6. “Performing Manuscripts” in Performing Medieval Text, ed. Ardis Butterfield, Henry Hope and Pauline Souleau. (Cambridge: Legenda, 2017), 11-19.
  7. “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.
  8. “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.
  9. “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.
  10.  “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.
  11. “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.
  12. “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.]
  13. “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.
  14. “The Fourteenth Century,” in The Cambridge Companion to Medieval Music, ed. Mark Everist. (Cambridge: CUP, 2011), 87-103; notes 382-6.
  15. “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.
  16. 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
  17. “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.
  18. “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].
  19. “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
  20. “Music and Masculinity in the Middle Ages,” in Masculinity and Western Musical Practice. Ed. Ian Biddle and Kirsten Gibson. (Farnham: Ashgate, 2009), 21-39.
  21. “Popular Music,” in An Introduction to Music Studies. Ed. J. P. E. Harper-Scott and Jim Samson. (Cambridge: Cambridge University Press, 2009), 188-99.
  22. “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.]
  23. “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, ed. Madeleine Tyssens in Medium Ævum 86/1 (2017), 188.
  6. “Song Texts or Sung Texts in Trecento ItalyJournal 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/caq105Full 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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