I teach historical topics across the Music course, but with emphasis on the pre-modern period, including Special Topics at Prelims, FHS Topics in Music History before 1750, and Musical Thought and Scholarship.
My research explores the texts and plainsong found in the extant sources of the medieval liturgy, with particular emphasis on transmission and reception. I am currently working on the chants found in the manuscript and printed sources of the Sanctorale (Proper of Saints) according to the liturgical Use of Sarum, the dominant pattern of liturgy, music, and ritual in the south of late medieval England.
My other current writing project explores the concurrent revivals of medieval music, liturgy, and architecture in the late ninenteenth-century English Church.
Other interests include
- theory, especially theories of the archive and of Austinian performativity;
- the relation between written sources and the performed reality they represent;
- late medieval and modern ecclesiastical history; and
- bibliography, especially in its connexions with digital humanities.
From 2012 to 2014 I helped to lead Fragments: music, movement, and memory in a Borders landscape, in collaboration with Historic Scotland and Red Field Arts. This was an arts project, funded by Creative Scotland, which used a fragment of a twelfth-century musical manuscript to engage with contemporary composers, artists, dancers, and musicians. See more in the Fragments section below.
Articles & publications
Two recent books are The Secular Liturgical Office in Late Medieval England (Brepols, 2015) and Hear My Voice, O God: functional dimensions of Christian worship (Liturgical Press, 2014). An edition of the music for Lady Mass according to the Use of Sarum is forthcoming from Early English Church Music (British Academy), as the first volume in the series dedicated to chant.