Papers given:
‘A Labyrinth of Spaces’. The Harlaxton Medieval Symposium, Harlaxton, 2009.
See publication list below.
‘Thinking, Doing, Feeling - Ars subtilior and Expression in Medieval Music’. The Plainsong and Medieval Music Society Annual Conference, University of Birmingham, 2010.
An examination of the use and combination of some unique Ars Subtilior techniques as an expressive language rather than as an intellectual challenge, exemplified through an analysis of Antonello da Caserta's 'Amour me le cuer mis'.
‘Order, Constraint and Interpretation: Guillaume de Machaut and his Rondeaux Collection’, The International Medieval Society Anual Symposium, Paris, 2011.
Analysis of the ordering of Rondeaux in Machaut's complete-works manuscripts, leading to new observations concerning their dating and the process of copying works within his oeuvre. A more detailed examination of this topic is describe in the 'work in progress' section below.
‘Early Owners of Machaut Manuscripts, or Sex, Deugs and High-end Art-music in the Late 14th Century’, Annual Medieval-Renaissance Music-Conference, Nottingham University, 2012.
Announcement of the discovery of the original owner of the most complete manuscript Machaut's oeuvre (Paris, BNF, f. fr. 22545-6)
With Yolanda Plumley, ‘Ownership and Circulation of Machaut Manuscripts in the Fourteenth and Early Fifteenth Centuries’, The Works of Guillame de Machaut: Music, Image, Text in the Middle Ages, Exeter, April, 2013.
‘The Three-Dimentional Text: a thought experiment around Machaut’s De bonté, de valour (V10)’, Performing Medieval Text, Merton College, Oxford, May, 2013 (press here for a podcast of the occasion).
With Marc Lewon, ‘Einstimmigkeit als Praxis’, Troja Kolloquium und Jahrbuch für Renaissancemusik, Munich, 24th/25th April, 2014.
Keynote presentation / concert-recital comparing elements of the study and performance of early and late monophony, with special emphasis on German repertoires.
‘A Labyrinth of Spaces’. The Harlaxton Medieval Symposium, Harlaxton, 2009.
See publication list below.
‘Thinking, Doing, Feeling - Ars subtilior and Expression in Medieval Music’. The Plainsong and Medieval Music Society Annual Conference, University of Birmingham, 2010.
An examination of the use and combination of some unique Ars Subtilior techniques as an expressive language rather than as an intellectual challenge, exemplified through an analysis of Antonello da Caserta's 'Amour me le cuer mis'.
‘Order, Constraint and Interpretation: Guillaume de Machaut and his Rondeaux Collection’, The International Medieval Society Anual Symposium, Paris, 2011.
Analysis of the ordering of Rondeaux in Machaut's complete-works manuscripts, leading to new observations concerning their dating and the process of copying works within his oeuvre. A more detailed examination of this topic is describe in the 'work in progress' section below.
‘Early Owners of Machaut Manuscripts, or Sex, Deugs and High-end Art-music in the Late 14th Century’, Annual Medieval-Renaissance Music-Conference, Nottingham University, 2012.
Announcement of the discovery of the original owner of the most complete manuscript Machaut's oeuvre (Paris, BNF, f. fr. 22545-6)
With Yolanda Plumley, ‘Ownership and Circulation of Machaut Manuscripts in the Fourteenth and Early Fifteenth Centuries’, The Works of Guillame de Machaut: Music, Image, Text in the Middle Ages, Exeter, April, 2013.
‘The Three-Dimentional Text: a thought experiment around Machaut’s De bonté, de valour (V10)’, Performing Medieval Text, Merton College, Oxford, May, 2013 (press here for a podcast of the occasion).
With Marc Lewon, ‘Einstimmigkeit als Praxis’, Troja Kolloquium und Jahrbuch für Renaissancemusik, Munich, 24th/25th April, 2014.
Keynote presentation / concert-recital comparing elements of the study and performance of early and late monophony, with special emphasis on German repertoires.
Published work:
‘A Labyrinth of Spaces: Page, Performance and Music in Late Medieval French Culture’, in (ed) Frances Andrews, Ritual and Space in the Middle Ages: Proceedings of the 2009 Harlaxton Symposium (Donington, 2011), pp. 130-147.
A peer reviewed article concerning the practicalities of change in the layout of polyphonic music in its firs few centuries, and their implications on the visuality non-musical meaning of the written artifacts that contain them. Special emphasis is given to changes occurring in tandem with the Ars Subtilior style, and their integration within a social, economic and cultural context.
‘A Labyrinth of Spaces: Page, Performance and Music in Late Medieval French Culture’, in (ed) Frances Andrews, Ritual and Space in the Middle Ages: Proceedings of the 2009 Harlaxton Symposium (Donington, 2011), pp. 130-147.
A peer reviewed article concerning the practicalities of change in the layout of polyphonic music in its firs few centuries, and their implications on the visuality non-musical meaning of the written artifacts that contain them. Special emphasis is given to changes occurring in tandem with the Ars Subtilior style, and their integration within a social, economic and cultural context.
