My research focuses upon the music of late-medieval and early modern Europe, especially in the sources and contexts of early-Tudor polyphony. My teaching reflects these interests. I teach on several music modules in music history; medieval, renaissance and baroque music; techniques of counterpoint; notation and editing.
I read music at Magdalen College, Oxford, graduating in 1990. After completing my DPhil thesis I was lecturer in music at Somerville College, Oxford, and then at Newcastle University (where I have been since 1997).
My interest is mainly in the music of the fifteenth and sixteenth centuries, particularly in:
I am also active as a performer. In 1988 I became a Fellow of the Royal College of Organists, while I was organ scholar at Magdalen College, and won prizes as an improviser, giving recitals in the UK and abroad. More recently, my collaboration with the Early English Organ Project and with the ESRC/AHRC-funded Experience of Worship project has drawn together my academic interests and my experience as an improviser and church musician.
2013-14: LE STUDIUM® Research Fellow, Centre d'Études Supérieures de la Renaissance, Université François-Rabelais de Tours, France
DPhil (Oxford): 'The Eton choirbook: its institutional and historical background' (1997)
BA Hons in Music (first class), Magdalen College, Oxford (1990)
Fellow, Royal College of Organists, with Dixon Prize (1988)
Lecturer in Music, Somerville College, Oxford (1995-7)
Director of Music, University Church of St Mary, Oxford (1992-7)
Assisting Organist, Magdalen College, Oxford (1990-1)
American Musicological Society; Royal Musical Association; Renaissance Society of America;
Plainsong and Mediaeval Music Society
musical contexts: social, ritual, spatial
loss, damage and restoration: reconstructing lacunary polyphony, re-imagining mutilated and lost spaces, melancholy and nostalgia
musical sources: manuscripts, chant and polyphony in print; choirbooks and partbooks, provenance and purpose; palaeography, codicology, notation, editing, formats
change and upheaval, reform, innovation, reaction
organ and choral music in early-Tudor England
performance, particularly improvisation
I am currently based in France as a research fellow at the Centre d'Études Supérieures de la Renaissance in Tours. While in France I am conducting various research projects on musical life and culture in France, for instance on the diocese of Le Mans (a small territory distinguished in the early sixteenth century as a particularly dynamic market for printed service books).
My researches in France complement several on-going research projects on the soundscape of the pre-Reformation parish, the printing of music books (particularly the oft-neglected but very significant corpus of printed chant books), and the mid-Tudor composer John Sheppard, whose quincentenary more or less falls in 2015, and who is the subject a of a collaborate set of essays I am preparing with an international team of experts. Often mutually antagonistic, but culturally interconnected, Renaissance France and early-Tudor England make for interesting comparisons, not least in their divergent responses to religious change.
September 2014 bring an exciting new departure with the advent of the AHRC funded project, Tudor Partbooks, of which I am the Principal Investigator (with Dr Julia Craig-McFeely of Oxford University and DIAMM as Co-I). More details can be found on the ICMuS Research pages and the Tudor Partbooks web pages (under construction). Alongside Julia and me, the the core research team will comprise a Research Associate working in Oxford and a fully-funded PhD student here at Newcastle. The project will also provide abundant opportunities for postgraduate research students, especially for those interested in sources and polyphonic reconstruction: if you'd like to be involved please contact me.
Pipeline projects include
General Editor, Early English Church Music
I have supervised many research students to successful completion, and welcome inquiries from anyone interested in pursuing research on Renaissance musical sources, North European historical contexts, sixteenth-century contrapuntal techniques, keyboard improvisation, editing, and notation.
LE STUDIUM® Research Fellow, Centre d'Études Supérieures de la Renaissance, Université François-Rabelais de Tours, France
Palisca Prize for outstanding edition, American Musicological Society (2011)
Tudor Partbooks: the manuscript legacies of John Sadler, John Baldwin and their antecedents (AHRC, 2014-17): PI
Early English Church Music: the fifteenth and early sixteenth centuries (AHRB, 2004-7): PI.
and various historical/cultural options on subjects from the fourteenth to the seventeenth centuries
Research methods in medieval and early modern studies
Notation and editing