Books, Edited Volumes, and Music Editions |
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Reading Renaissance Music Theory: Hearing with the Eyes (Cambridge: Cambridge University Press, 2000), xxiv + 339. Winner of the 2001 Wallace Berry Award, Society for Music Theory. Reviews include Early Music, Early Music History, Journal of the American Musicological Society, Music Theory Spectrum, Musical Times, Muziektheorie, Renaissance Quarterly, Renaissance Studies and Sixteenth Century Journal. |
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Musical Theory in the Renaissance (London: Ashgate, 2013). Anthology. Editor and Introduction, xiii-xxx. |
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Tonal Structures in Early Music (New York: Garland Publishing, 1998 [paperback 2000]), xi + 402. Editor. “Introduction: Analyzing Early Music,” 3–13. “Josquin’s Gospel Motets and Chant-Based Tonality,” 109–54. Winner of the 1999 Emerging Scholar Award, Society for Music Theory. Reviews include Music Analysis, Music Library Association Notes, Music and Letters, Music Theory Spectrum and Renaissance Quarterly. |
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Gioseffo Zarlino, Motets from the 1560s. Introduction and critical edition with Katelijne Schiltz, Recent Researches in Music of the Renaissance, (Madison, WI: A-R editions, 2015). [Companion recording: Gioseffo Zarlino, Modulationes sex vocum, Singer Pur, Oehms Classics (2013).] |
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Gioseffo Zarlino, Motets from Musici quinque vocum moduli (1549). Introduction and critical edition, Recent Researches in Music of the Renaissance, (Madison, WI: A-R editions, 2007). |
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Gioseffo Zarlino, Canticum canticorum Salomonis. Introduction and critical edition, Recent Researches in Music of the Renaissance, (Madison, WI: A-R editions, 2006). [Companion recording Gioseffo Zarlino: Canticum canticorum salomonis, Ensemble Plus Ultra, Glossa GDG 921406 (2007).] |
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Selected Articles and Book Chapters |
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“To Discourse Learnedly and Compose Beautifully: Thoughts on Zarlino, Theory, and Practice,” Music Theory Online 19.3 (2013). |
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“‘How to Assign Note Values to Words’: Gioseffo Zarlino’s Pater Noster – Ave Maria (1549 and 1566),” in Musical Implications: Essays in Honor of Eugene Narmour, ed. Lawrence Bernstein and Alexander Rozin (New York: Pendragon, 2013), 225-54. |
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“Music in Dialogue: Conversational, Literary, and Didactic Discourse about Music in the Renaissance,” Journal of Music Theory 52 (2008 [2009]), 41-74. |
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“Si bona suscepimus: A Complex of Masses and Motets,” in Cristobal de Morales: Sources, Influences, Reception, ed. Owen Rees and Bernadette Nelson (London: Boydall and Brewer, 2007), 123–140. |
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“Learning to Compose in the 1540s: Gioseffo Zarlino’s Si bona suscepimus,” in Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, ed. Suzie Clark and Elizabeth Eva Leech (London: Boydall and Brewer, 2006), 184–205. |
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“Renaissance Modal Theory: Theoretical, Compositional, and Editorial Perspectives,” in The Cambridge History of Western Music Theory, ed. Thomas Christensen (Cambridge: Cambridge University Press, 2002), 364–406. |
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“A Newly Recovered Eight-mode Motet Cycle: Zarlino’s Song of Songs Motets,” Théorie et analyse musicales 1450–1650, ed. Anne-Emmanuelle Ceulemans and Bonnie J. Blackburn (Louvain-le-Neuve, Université Catholique de Louvain, 2001) 229–70. |
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“The Dialogue of Past and Present: Approaches to Historical Music Theory,” Intégral 14/15 (2000/2001), 56-63. |
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“Musical Commonplace Books, Writing Theory, and ‘Silent Listening’: The Polyphonic Examples of Glarean’s Dodecachordon,” Musical Quarterly 82 (1998), 482–516. |
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“Introduction: Analyzing Early Music,” in Tonal Structures in Early Music, ed Cristle Collins Judd (New York: Garland Publishing, 1998), 3–13. |
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“Josquin’s Gospel Motets and Chant-Based Tonality,” in Tonal Structures in Early Music, ed Cristle Collins Judd (New York: Garland Publishing, 1998), 109–54. Winner of the 1999 Emerging Scholar Award, Society for Music Theory. |
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“Reading Aron Reading Petrucci,” Early Music History 14 (1995), 121–52. |
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“Modal Types and Ut, Re, Mi Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500,” Journal of the American Musicological Society 45 (1992), 428–67. |
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“Some Problems of Pre-Baroque Analysis: An Examination of Josquin’s Ave Maria … virgo serena,” Music Analysis 4 (1985), 201-39. |
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“Josquin des Prez: Salve regina (à 5),” in Mark Everist, ed., Models of Musical Analysis: Music before 1600 (Oxford: Blackwell, 1992), 114-53. |
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Selected Papers and Invited Lectures
“Modal Theory: 21st-century perspectives on 16th-century Venetian writing about music,” Teoria musicale: L’organizzazione dello spazio sonoro dall’antichità all’età contemporanea, Fondazione Levi, Venice, July, 2016.
“Morley’s Dialogue: The Intersection of Printing and Pedagogy,” Annual Meeting of the American Musicological Society, Pittsburgh, November, 2013.
“To Discourse Learnedly and Compose Beautifully: Thoughts on Zarlino, Theory, and Practice,” Invited Keynote Address, Annual Meeting of the Society for Music Theory, Minneapolis, October 2011.
“Zarlino the Revisionist,” Music und Theorie bei Adrian Willaert und Gioseffo Zarlino, Regensburg, Germany, July 12, 2011.
“‘How to Assign Note Values to Words’: Gioseffo Zarlino’s Pater Noster – Ave Maria (1549 and 1566),” International Conference on Medieval and Renaissance Music, Vienna, Austria, August 8, 2007.
“History of Music Theory: Past, Present, Future,” Panel Session at the Joint Annual Meeting of the American Musicological Society and the Society for Music Theory, Los Angeles, October 30, 2006.
“Learning to Compose in the 1540s: Soggetti and Musical Borrowing,” International Conference: Reading and Writing the Pedagogy of the Renaissance, Johns Hopkins University, June 4, 2005.
“The Diffusion of Musical Knowledge: Anglo-American Theory in the Nineteenth Century,” paper read at the Joint Annual Meeting of the American Musicological Society and the Society for Music Theory, Seattle, November 11, 2004
“Understanding the Text-Music Relationship in Mid-Sixteenth Century Music: Learning from Zarlino’s Theory and Practice,” Keynote Address, Coloquio sobre Zarlino y los teóricos, Gijon Spain, July 18, 2004. Accompanied by the first modern performance of Zarlino’s Canticum canticorum cycle, performed from my editions by Ensemble Plus Ultra. Subsequent performance with introductory talk: Annual Meeting of the Renaissance Society of America, Clare College Chapel, Cambridge, April 9, 2005.
“Musical Borrowing and the Si bona suscepimus complex of masses and motets,” International Morales Conference, Oxford University, September 8, 2003.
"Theory Meets Practice Meets Theory: Gioseffo Zarlino and the Song of Songs," Keynote Address, Florida Music Theory Forum, January 19, 2001 (Also read at the University of Chicago, November 17, 2000).
"Music in Dialogue: Thomas Morley's Plaine and Easie Introduction," International Conference on Medieval and Renaissance Music, Oxford, August, 2000.
“A Newly Recovered Eight-Mode Motet Cycle: Zarlino’s Song of Songs Motets,” Théorie et Analyse Musicales 1450–1650, Louvain-la-Neuve, September 1999; American Musicological Society, Kansas City, November 1999.
“The Hope of Exiles: A Reception History of Josquin’s (?) Magnus es tu Domine,” Princeton International Josquin Conference, October 1999.
“‘Historically-informed’ Analyses? Labels, Limitations, Liberations,” Eastman School of Music, December 1997.
“Traces of a Theorist Assimilating a Theory: Musical Citations in Zarlino’s Le Istitutioni harmoniche ,” American Musicological Society and Society for Music Theory, Phoenix, October 1997.
“Musical Commonplace Books, Writing Theory, and ‘Silent Listening”: The Polyphonic Examples of Glarean’s Dodecachordon,” Conference “Music as Heard: 1300–1600,” Princeton, September 1997.
“Harmonic Institutions: Theory, Practice, and Printed Repertories,” American Musicological Society, Baltimore, November 1996.
“‘Come manifestamente si comprende...’? The Music Examples of Pietro Aron’s Trattato (1525),” Conference on Medieval and Renaissance Conference, Glasgow, July 1994.
“In Principio erat Verbum: Reciting Formulae and Tonal Coherence,” American Musicological Society and Society for Music Theory, Montreal, November 1993.
“Modal Types and Ut, Re, Mi Tonalities: Tonal Coherence in Sacred Vocal Polyphony from about 1500,” American Musicological Society and Society for Music Theory, Oakland, November 1990.
