I am interested in supervising projects on late-medieval music, basically in the period c.1250-c.1400. I will be most interested in your project (and particularly useful to you as a supervisor) if you want to work on anything involving any combination of the following: songs, motets, intertextual issues, broad cultural issues, court culture, music analysis, gender and sexuality studies, nature and animals, French literature, historiography, the ontology of music, Chaucer. If you have only vague ideas for a project in this area, I might be able to suggest something that would build on your interests and skills — just get in touch by email.
Ideal students should be willing to learn to read in modern German and an appropriate medieval language, willing to examine medieval manuscripts, and willing to engage with a spectrum of issues from the minutiae of musical details and the broadest of critical approaches. If you are interested in an academic career after your graduate work, I will offer you assistance with professional development, including the delivery of conference papers and job talks, IT and digital humanities use, and teaching.
Current and recent graduates
My current and recent students are listed here (dates, where give, are completion dates). Please feel free to get in touch with them for the unvarnished account of what it’s like working with me!
- Meghan Quinlan: Contrafacta (google+)
- Matthew Thomson: The motet around 1300 (web; twitter)
- Henry Hope: Constructing the Minnesänger musically (web; blog)
- Christopher Garrard (supervised by Martyn Harry): Composition (web; blog; twitter)
- Elizabeth Nyikos (supervised by Margaret Bent): 15thC fragments
- 2012. Meghan Quinlan: Contexts for the contrafacta of a troubadour song (see above)
- 2012. Matthew Thomson: The motet around 1300 (see above)
- 2012. Samantha Blickhan: Monophonic song and medieval memory in the 14thC (twitter)
- 2009. Henry Hope: Ave virgo virginum and the Manuscript OxfB: A Case Study of Early Polyphony in Context (see above)
- 2009. Paul Kolb: Meaning and Compositional Structure in Two Motets of Philippe de Vitry