Published work:
‘The Polyphony of Function: Mixing Text and Music in Guillaume de Machaut’, in Jonathan Fruoco (ed.), Polyphony and the Modern (Routledge, 2021), pp. 15-36.
With Marc Lewon, ‘Competing Ontologies of Musical Improvisation: A Medieval Perspective’, in Marcello Ruta and Alessandro Bertinetto (eds), The Routledge Handbook of the Philosophy of Musical Improvisation (Routledge, 2021), 315-27.
‘Creating MS C: Author, Workshop, Court’, Early Music History, xxxix (2020), pp. 253-304.
With R. Barton Palmer and Domenic Leo, The Boethian Poems, in R. Barton Palmer and Yolanda Plumley (eds), Guillaume de Machaut: The Complete Poetry & Music vol. 2 (TEAMS, Medieval Institute Publications: Michigan, 2019).
The entries ‘Fulda, Adam von’, ‘Gerle, Hans’, ‘Machaut, Guillaume de’, ‘Monachus, Guilielmus’, ‘Proportions, the system of’, ‘Text underlay’ and ‘Vaillant, Johannes’ in Colin Lawson and Robin Stowell (eds), The Cambridge Encyclopaedia of Historical Performance in Music (Cambridge University Press, 2018), pp. 251, 265, 380, 411, 514, 610-1, and 664 respectively.
‘Machaut and Prague: A Rare New Sighting?’ Early Music, xlvi no. 2 (July, 2018), pp. 211-223.
Review: ‘Instrumentalists and Renaissance Culture, 1420-1600: Players of Function and Fantasy. By Victor Coelho and Keith Polk’, in Music & Letters. xcviii (3, 1) (2017), pp. 468-70.
‘The Ars Subtilior as an International Style’ in Stefan Morent, Silke Leopold and Joachim Steinheuer (eds), Europäische Musikkultur im Kontext des Konstanzer Konzils (Thorbecke: Memmingen, 2017), pp. 225-49.
With R. Barton Palmer and Domenic Leo, The Debate Poems: Le Jugement dou Roy de Behaigne, Le Jugement dou Roy de Navarre, Le Lay de Plour, in R. Barton Palmer and Yolanda Plumley (eds), Guillaume de Machaut: The Complete Poetry & Music vol. 1 (TEAMS, Medieval Institute Publications: Michigan, 2016).
‘Broadening the contratenor horizon—commentary on Singe Rotter-Broman, ‘Contratenor parts in polyphonic songs from the later Trecento (Italy, ca. 1400): Challenges for concepts of polyphony and improvisation’’, Journal of Interdisciplinary Music Studies, viii (2014-16, special issue: ‘Cognition of Early Polyphony’), pp. 82-3.
With Yolanda Plumley, ‘Béarn’, in David Wallace (ed.), Europe: A Literary History, 1348-1418 (Oxford University Press, 2016) vol. 1, pp. 156-71.
Review: ‘Douglas Kelly, Machaut and the Medieval Apprenticeship Tradition: Truth, Fiction and Poetic Craft’, Mediavistik, xxviii (2015), pp. 587-90.
‘L’essor du compositeur-célébrité: stratégies et techniques de l’auto-définition musicale au 14e siècle’, Revue Analyse Musicale, lxxviii (2015), pp. 13-21.
‘A Labyrinth of Spaces: Page, Performance and Music in Late Medieval French Culture’, in Frances Andrews (ed.), Ritual and Space in the Middle Ages: Proceedings of the 2009 Harlaxton Symposium (Donington, 2011), pp. 130-147.
Forthcoming:
‘The ‘Luxembourg-ness’ of Things: Machaut C, Glazier 52 and Dynastic Presence in Early Fourteenth Century France’, in Karl Kügle, Ingrid Ciulisová, and Václav Žůrek (eds), The Luxembourgs in Late Medieval Europe: Old Topics, New Perspectives (Boydell & Brewer).
‘Texts on the Move: Book-Presentation as Performative Space’, in Karl Kügle (ed.), The Networked Court: New Methodologies, New Perspectives.
‘From the Fernandez Brothers to Tinctoris: Proportional Duos in Practice’, in Ronald Woodley (ed.), Johannes Tinctoris and Music Theory in the Late Middle Ages and Early Renaissance.
‘The Polyphony of Function: Mixing Text and Music in Guillaume de Machaut’, in Jonathan Fruoco (ed.), Polyphony and the Modern (Routledge, 2021), pp. 15-36.
With Marc Lewon, ‘Competing Ontologies of Musical Improvisation: A Medieval Perspective’, in Marcello Ruta and Alessandro Bertinetto (eds), The Routledge Handbook of the Philosophy of Musical Improvisation (Routledge, 2021), 315-27.
‘Creating MS C: Author, Workshop, Court’, Early Music History, xxxix (2020), pp. 253-304.
With R. Barton Palmer and Domenic Leo, The Boethian Poems, in R. Barton Palmer and Yolanda Plumley (eds), Guillaume de Machaut: The Complete Poetry & Music vol. 2 (TEAMS, Medieval Institute Publications: Michigan, 2019).
The entries ‘Fulda, Adam von’, ‘Gerle, Hans’, ‘Machaut, Guillaume de’, ‘Monachus, Guilielmus’, ‘Proportions, the system of’, ‘Text underlay’ and ‘Vaillant, Johannes’ in Colin Lawson and Robin Stowell (eds), The Cambridge Encyclopaedia of Historical Performance in Music (Cambridge University Press, 2018), pp. 251, 265, 380, 411, 514, 610-1, and 664 respectively.
‘Machaut and Prague: A Rare New Sighting?’ Early Music, xlvi no. 2 (July, 2018), pp. 211-223.
Review: ‘Instrumentalists and Renaissance Culture, 1420-1600: Players of Function and Fantasy. By Victor Coelho and Keith Polk’, in Music & Letters. xcviii (3, 1) (2017), pp. 468-70.
‘The Ars Subtilior as an International Style’ in Stefan Morent, Silke Leopold and Joachim Steinheuer (eds), Europäische Musikkultur im Kontext des Konstanzer Konzils (Thorbecke: Memmingen, 2017), pp. 225-49.
With R. Barton Palmer and Domenic Leo, The Debate Poems: Le Jugement dou Roy de Behaigne, Le Jugement dou Roy de Navarre, Le Lay de Plour, in R. Barton Palmer and Yolanda Plumley (eds), Guillaume de Machaut: The Complete Poetry & Music vol. 1 (TEAMS, Medieval Institute Publications: Michigan, 2016).
‘Broadening the contratenor horizon—commentary on Singe Rotter-Broman, ‘Contratenor parts in polyphonic songs from the later Trecento (Italy, ca. 1400): Challenges for concepts of polyphony and improvisation’’, Journal of Interdisciplinary Music Studies, viii (2014-16, special issue: ‘Cognition of Early Polyphony’), pp. 82-3.
With Yolanda Plumley, ‘Béarn’, in David Wallace (ed.), Europe: A Literary History, 1348-1418 (Oxford University Press, 2016) vol. 1, pp. 156-71.
Review: ‘Douglas Kelly, Machaut and the Medieval Apprenticeship Tradition: Truth, Fiction and Poetic Craft’, Mediavistik, xxviii (2015), pp. 587-90.
‘L’essor du compositeur-célébrité: stratégies et techniques de l’auto-définition musicale au 14e siècle’, Revue Analyse Musicale, lxxviii (2015), pp. 13-21.
‘A Labyrinth of Spaces: Page, Performance and Music in Late Medieval French Culture’, in Frances Andrews (ed.), Ritual and Space in the Middle Ages: Proceedings of the 2009 Harlaxton Symposium (Donington, 2011), pp. 130-147.
Forthcoming:
‘The ‘Luxembourg-ness’ of Things: Machaut C, Glazier 52 and Dynastic Presence in Early Fourteenth Century France’, in Karl Kügle, Ingrid Ciulisová, and Václav Žůrek (eds), The Luxembourgs in Late Medieval Europe: Old Topics, New Perspectives (Boydell & Brewer).
‘Texts on the Move: Book-Presentation as Performative Space’, in Karl Kügle (ed.), The Networked Court: New Methodologies, New Perspectives.
‘From the Fernandez Brothers to Tinctoris: Proportional Duos in Practice’, in Ronald Woodley (ed.), Johannes Tinctoris and Music Theory in the Late Middle Ages and Early Renaissance.
Papers given:
‘A Labyrinth of Spaces’. The Harlaxton Medieval Symposium, Harlaxton, 2009.
‘Thinking, Doing, Feeling - Ars subtilior and Expression in Medieval Music’. The Plainsong and Medieval Music Society Annual Conference, University of Birmingham, 2010.
‘Order, Constraint and Interpretation: Guillaume de Machaut and his Rondeaux Collection’, The International Medieval Society Anual Symposium, Paris, 2011.
‘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.
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.
‘Translating musical style at the time of the Great Schism: the Ars Subtilior outside France’, Europäische Musikkultur im Kontext des Konstanzer Konzils, Constance, 19th-21st June, 2014.
‘Singing from the Source: Evidence of Performance from the Machaut Manuscripts’, 42nd Medieval-Renaissance Music-Conference, University of Birmingham, 3rd-6th July, 2014.
‘From the Fernandez Brothers to Tinctoris: Proportional Duos in Practice’, Johannes Tinctoris and Music Theory in the Late Middle Ages and Early Renaissance, Senate House, University of London, 9th-10th October, 2014.
‘Writing Down Rondeaux: Some Material Constraints of Manuscript Production and their Influence on the Question of Order in Machaut’s Works’, International Symposium on Late Medieval and Early Renaissance Music, Kloster Neustift/Novacella, 26th June-1st July, 2017.
‘Machaut and the East: A Rare New Sighting?’, 45th Medieval and Renaissance Music Conference, Prague, 4th-8th July, 2017.
‘Translating Medieval Sound’, Contemporary Medieval Poetry in honor of Clare A. Lees, King’s College London, 15th June, 2018.
Double session with Jacques Boogaart, ‘Editing Machaut’s Music Afresh: from Concept to User’, KVNM / STIMU Symposium: Editing the Past, Utrecht, 30th-31st August, 2018.
‘A Bridge between History and the Public?’, Gehörbildung an der SCB - gestern, heute, morgen, Schola Cantorum Basiliensis, Basel, 7th-8th November, 2018.
‘Modelling le noble rethorique’, 47th Medieval and Renaissance Conference, Basel, 3rd-6th July, 2019.
‘A Labyrinth of Spaces’. The Harlaxton Medieval Symposium, Harlaxton, 2009.
‘Thinking, Doing, Feeling - Ars subtilior and Expression in Medieval Music’. The Plainsong and Medieval Music Society Annual Conference, University of Birmingham, 2010.
‘Order, Constraint and Interpretation: Guillaume de Machaut and his Rondeaux Collection’, The International Medieval Society Anual Symposium, Paris, 2011.
‘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.
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.
‘Translating musical style at the time of the Great Schism: the Ars Subtilior outside France’, Europäische Musikkultur im Kontext des Konstanzer Konzils, Constance, 19th-21st June, 2014.
‘Singing from the Source: Evidence of Performance from the Machaut Manuscripts’, 42nd Medieval-Renaissance Music-Conference, University of Birmingham, 3rd-6th July, 2014.
‘From the Fernandez Brothers to Tinctoris: Proportional Duos in Practice’, Johannes Tinctoris and Music Theory in the Late Middle Ages and Early Renaissance, Senate House, University of London, 9th-10th October, 2014.
‘Writing Down Rondeaux: Some Material Constraints of Manuscript Production and their Influence on the Question of Order in Machaut’s Works’, International Symposium on Late Medieval and Early Renaissance Music, Kloster Neustift/Novacella, 26th June-1st July, 2017.
‘Machaut and the East: A Rare New Sighting?’, 45th Medieval and Renaissance Music Conference, Prague, 4th-8th July, 2017.
‘Translating Medieval Sound’, Contemporary Medieval Poetry in honor of Clare A. Lees, King’s College London, 15th June, 2018.
Double session with Jacques Boogaart, ‘Editing Machaut’s Music Afresh: from Concept to User’, KVNM / STIMU Symposium: Editing the Past, Utrecht, 30th-31st August, 2018.
‘A Bridge between History and the Public?’, Gehörbildung an der SCB - gestern, heute, morgen, Schola Cantorum Basiliensis, Basel, 7th-8th November, 2018.
‘Modelling le noble rethorique’, 47th Medieval and Renaissance Conference, Basel, 3rd-6th July, 2019.
