Please use the journal links to access these publications if you or your institution has access. In accordance with the guidelines for Fair Use, the PDF files posted here may be used for “criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research.” All other uses are prohibited.
The Monstrous New Art: Divided Forms in the Late Medieval Motet. Music in Context. New York and Cambridge: Cambridge University Press, 2015; 2nd paperback edition 2018. (audio files of the examples can be found under “Resources” on the publisher’s site)
“Qui musicam in se habet”: Essays in Honor of Alejandro Enrique Planchart, co-ed. with Bonnie Blackburn and Stanley Boorman. American Institute of Musicology, 2015.
“New Voices for Vitry,” Early Music 46.3 (2018): pages TBD. Free online access through this link.
“Intelligibility Redux: Motets and the Modern Medieval Sound,” Music Theory Online 23 no. 2 (2017). open-access; link to full text.
“Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music,” Journal of Musicology 30 (October 2013): 461–501. (access through JSTOR; links to related audio; accompanying, now-obsolete edition of Petre/Lugentium; article PDF)
“Materia Matters: Reconstructing Colla/Bona,” in A Critical Companion to Medieval Motets, ed. Jared Hartt, 287–99. Boydell and Brewer, 2018.
“‘Sanz note’ & ‘sanz mesure’: Toward a Premodern Aesthetics of the Dirge,” in Voice and Voicelessness in Medieval Europe, edited by Irit Kleiman, 155–75. Palgrave Macmillan, 2015. (the volume at Palgrave Macmillan; chapter PDF)
“Vitry’s Worst Motet.” In The Soul of Wit: Micro-Festschrift Rob Wegman zum 50. Geburtstag, ed. Michael Scott Cuthbert, 43r–43v. Somerville: Wall Status Press, 2011. (open-access publication)
“In Defense of Green Lines, or The Notation of B-flat in Early Ambrosian Antiphoners.” In Ambrosiana at Harvard: New Sources of Milanese Chant, ed. Thomas Forrest Kelly and Matthew Mugmon, Houghton Library Studies 3, 33–56. Cambridge: Harvard University Press, 2010. (the volume at Harvard University Press; PDF)
The Art of Grafted Song: Citation and Allusion in the Age of Machaut, by Yolanda Plumley, Journal of the American Musicological Society 68 (2015): 429–35.
“Music, Noted: The Recording of Songs and Sounds past” review of Capturing Music: The Story of Notation, by Thomas Forrest Kelly, Harvard Magazine (November–December 2014), 78–80.
The Sense of Sound: Musical Meaning in France, 1260–1330, by Emma Dillon, Speculum 88/4(October 2013): 1081–1083.
Composers and their Songs, 1400-1521, by David Fallows, Fifteenth-Century Studies 38 (2013): 251–6.
Review essay on Guillaume de Machaut: Secretary, Poet, Musician, by Elizabeth Eva Leach, Early Music History 31 (2012): 263–78.
The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music, by David J. Rothenberg, Early Music America 18 (2012): 52–3.
The Cultural Life of the Early Polyphonic Mass, by Andrew Kirkman, Early Music America 17 (2011): 51–2.
Opera Musicologica (Journal review), Notes 68 (2011):139–41.
A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex, ed. Yolanda Plumley and Anne Stone, Early Music America 16 (2010): 63–4.