Univ Matthew Cheung Salisbury
Stipendiary Lecturer in Music

Interests/ Links

Further information

Matthew Cheung Salisbury


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

- Medievalism and Music & Theology, for which I co-convene seminars;

- 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 (see here), 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.

I also contributed to the Experience of Worship project at Bangor University. See the Sarum Customary Online (see here), for part of which I was responsible, and the main Project website.

I am a trustee of the Plainsong and Medieval Music Society (see here) and a director of the Digital Image Archive of Medieval Music (here.) 


Articles & publications


Two recent books are The Secular Liturgical Office in Late Medieval England (details here) (Brepols, 2015) and Hear My Voice, O God: functional dimensions of Christian worship (see here) (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.

with Andrew Hughes and Heather Robbins, Cataloguing Discrepancies: the printed York Breviary of 1493. (Toronto, 2011). 
The Use of York: characteristics of the medieval liturgical Office in York. (Borthwick Institute, University of York, 2008)


‘A fifteenth-century English aspersion chant’ Plainsong and Medieval Music Society online editions, 2010.

Chapters and Articles

(forthcoming) ‘Establishing a liturgical ‘text’: text for performance, performance as text’, book chapter in The Experience of Late Medieval Worship, edited by Paul Barnwell, Sally Harper, and Magnus Williamson.(forthcoming) ‘Early printed books and the modern resources that describe them: the case of the Hereford Breviary of 1505’, book chapter in The Perils of Print Culture, edited by Jason McElligott and Eve Patten (to be published in 2013).
(forthcoming) ‘The Uses of Sarum and York: appearances and realities’, book chapter in Interpreting Medieval Rituals c. 500-1500 AD, edited by Sarah Hamilton and Helen Gittos, a gateway resource for those unfamiliar with current work on medieval liturgy, and an explicit challenge to prevalent ideas (to be published by Ashgate).
(forthcoming) ‘Liturgy’, entry in Oxford Bibliographies: Medieval Studies, gen. ed. Paul Szarmach.
with Clare Smout and Elisabeth Dutton, ‘Staging the N-Town Plays: Theatre and Liturgy’, Research Opportunities in Medieval and Renaissance Drama 49 (2010), pp.80-109.
‘A newly discovered copy of the Commentarius of John of Garland’ Bodleian Library Record, April 2010, pp.90-91.
with Andrew Hughes, ‘The ideal copy: fallacies in the cataloguing of liturgical books’, Notes and Queries 56 (December 2009), pp. 490-496
‘An alternative Office for St Thomas Becket and its implications’, Anaphora 2, no. 1 (June 2008), pp. 57-68.
‘A “trivial” variant: filled thirds in the Office for St Thomas Becket.’ Plainsong and Medieval Music 16, no. 1 (April, 2007), pp.1-16.