Essays, Longer Works, and Media
“Pierre de la Rue: Missa pro fidelibus defunctis”
In The Book of Requiems from the Earliest Ages to the Present Period: 1450–1550, 95–110. Edited by David J. Burn. Leuven: Leuven University Press, 2022.
“Antoine Févin: Missa pro fidelibus defunctis”
In The Book of Requiems from the Earliest Ages to the Present Period: 1450–1550, 157–169. Edited by David J. Burn. Leuven: Leuven University Press, in 2022.
Josquin Desprez: Missa Fortuna desperata
Participant in documentary by the Alamire Foundation, with Blue Heron (Scott Metcalfe, artistic director); broadcast 2022.
“Text and Context in the Leuven Chansonnier”
Journal of the Alamire Foundation 13 (2021): 12–32.
Hildegard von Bingen: Ordo virtutum (first complete recording)
Artistic advisor and booklet essay author for compact disc by Seraphic Fire, directed by Patrick Quigley. SFMCD16, 2021.
“Manuscript Culture.”
In A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries, 347–396. Edited by Andrew H. Weaver. Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe 4. Leiden and Boston: Brill, 2020.
“The Court Chapels of the Habsburg-Burgundian Line: From Emperor Maximilian I to Emperor Charles V”
In A Companion to Music at the Habsburg Courts in the Sixteenth and Seventeenth Centuries, 59–95. Edited by Andrew H. Weaver. Brill’s Companions to the Musical Culture of Medieval and Early Modern Europe 4. Leiden and Boston: Brill, 2020.
“Hildegard of Bingen”
Third version. In Oxford Bibliographies in Music. Edited by Kate van Orden. New York: Oxford University Press, 2020.
“The Segovia Manuscript as Chansonnier”
In The Segovia Manuscript: A European Musical Repertory in Spain, c. 1500, 167–191. Edited by Wolfgang Fuhrmann and Cristina Urchueguía. Studies in Medieval and Renaissance Music 20. Woodbridge, Suffolk: The Boydell Press, 2019.
“Range, Repertoire, and Recipient in the Alamire Manuscripts”
Journal of the Alamire Foundation 11 (2019): 97–112, 186.
“Composers and Repertory: An Overview / Componisten en repertoire: een overzicht”
In The Mechelen Choirbook: Study / Het Mechels Koorboek: Studie, 55–64; 277–287. Edited by David J. Burn and Honey Meconi. Leuven Library of Music in Facsimile 3. Antwerp: Standaard/Davidsfonds, 2019.
“Pierre de la Rue: Missa Alleluya”
In The Mechelen Choirbook: Study / Het Mechels Koorboek: Studie, 141–153; 371–384. Edited by David J. Burn and Honey Meconi. Leuven Library of Music in Facsimile 3. Antwerp: Standaard/Davidsfonds, 2019
“The Unknown Alamire: Lost Manuscripts Reclaimed”
Revue belge de musicologie / Belgisch Tijdschrift voor Muziekwetenschap 71 (2017): 33–84.
“Power, Prestige, and Polyphony: The Use of Parchment in Music Manuscripts c. 1450–1600”
In Sources of Identity: Makers, Owners, and Users of Music Sources before 1600, 169–208. Edited by Lisa Colton and Tim Shephard. Turnhout: Brepols, 2017.
“The Munich Connection: Extreme Singing in Lassus and La Rue”
Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 67 (2017): 247–257.
“Alamire, Pierre de la Rue, and Manuscript Production in the Time of Charles V”
In Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart, 575–613. Edited by Anna Zayaruznaya, Bonnie J. Blackburn, and Stanley Boorman. Miscellanea 9. Middleton: American Institute of Musicology, 2015.
“Pierre de la Rue c. 1452–1518: Missa Alleluia”
In Meerstemmigheid in Beeld: Zeven Meesterwerken uit het Atelier van Petrus Alamire/Polyphony in the Picture: Seven Masterpieces from the Workshop of Petrus Alamire, 78–109. Edited by David J. Burn. Leuven: Davidsfonds, 2015.
“Antoine de Févin c. 1470–c. 1512: Missa pro fidelibus defunctis”
In Meerstemmigheid in Beeld: Zeven Meesterwerken uit het Atelier van Petrus Alamire/Polyphony in the Picture: Seven Masterpieces from the Workshop of Petrus Alamire, 210–243. Edited by David J. Burn. Leuven: Davidsfonds, 2015.
“Recordings of Fifteenth-Century Music”
In The Cambridge History of Fifteenth-Century Music, 823–832. Edited by Anna Maria Busse Berger and Jesse Rodin. Cambridge: Cambridge University Press, 2015.
“Plus oultre, Pierre de la Rue, and VienNB 9814”
Journal of the Alamire Foundation 6 (2014): 12–32.
“The Unknown Hildegard: Editing, Performance, and Reception (An Ordo Virtutum in Five Acts)”
In Music in Print and Beyond: Hildegard von Bingen to The Beatles, 258–305. Edited by Craig A. Monson and Roberta Montemorra Marvin. Rochester: University of Rochester Press, 2013.
“London Royal 8 G. vii and the Motets of Pierre de la Rue”
Die Tonkunst: Magazin für klassische Musik und Musikwissenschaft 5 (2011): 5–15.
“Shedding New Light (Literally) on the Rochester Fascicle: A Preliminary Report”
In Essays on Renaissance Music in Honour of David Fallows: Bon jour, bon mois, et bonne estrenne, 52–59. Edited by Fabrice Fitch and Jacobijn Kiel. Studies in Medieval and Renaissance Music 11. Woodbridge: Boydell and Brewer, 2011.
“Hildegard’s Lingua ignota and Music”
In Musik des Mittelalters und der Renaissance: Festschrift Klaus-Jürgen Sachs zum 80. Geburtstag, 59–79. Edited by Rainer Kleinertz, Christoph Flamm, and Wolf Frobenius. Veröffentlichungen des Staatlichen Instituts für Musikforschung 18. Studien zur Geschichte der Musiktheorie 8. Hildesheim, Zürich, and New York: Georg Olms Verlag, 2010.
“Margaret of Austria, Visual Representation, and Brussels, Royal Library, Ms. 228”
Journal of the Alamire Foundation 2 (2010): 11–36, 129–130.
“A Cultural Theory of the Chansonnier”
In “Uno gentile et subtile ingenio”: Studies in Renaissance Music in Honour of Bonnie Blackburn, 649–657. Edited by M. Jennifer Bloxam, Gioia Filocamo, and Leofranc Holford-Strevens. Turnhout: Brepols, 2009.
“The Ghost of Perfection: The Munich Partbooks and Some Thoughts on Renaissance Manuscripts”
In The Sounds and Sights of Performance in Early Music: Essays in Honour of Timothy J. McGee, 85–101 and Plate 1. Edited by Maureen Epp and Brian E. Power. Aldershot: Ashgate, 2009.
“The Range of Mourning: Nine Questions and Some Answers”
In Tod in Musik und Kultur: Zum 500. Todestag Philipps des Schönen, 141–156. Wiener Forum für ältere Musikgeschichte 2. Edited by Stefan Gasch and Birgit Lodes. Tutzing: Hans Schneider, 2007.
“Petrucci’s Mass Prints and the Naming of Things”
In Venezia 1501: Petrucci e la stampa musicale (Atti del Convegno internazionale, Venezia, Palazzo Giustinian Lolin, 10–13 ottobre 2001), 397–414. Edited by Giulio Cattin and Patrizia Dalla Vecchia. Series III, Studi musicologici B, Atti di Convegni 6. Venice: Edizioni Fondazione Levi, 2005.
“Habsburg-Burgundian Manuscripts, Borrowed Material, and the Practice of Naming”
In Early Musical Borrowing, 111-124 (see above under BOOKS AND EDITED VOLUMES).
“The Function of the Habsburg-Burgundian Court Manuscripts”
In The Burgundian-Habsburg Court Complex of Music Manuscripts (1500-1535) and the Workshop of Petrus Alamire, 117-124. Edited by Bruno Bouckaert and Eugeen Schreurs. Yearbook of the Alamire Foundation 5. Leuven and Neerpelt: Alamire Foundation, 2003.
“Josquin and Musical Reputation”
In Essays on Music and Culture in Honor of Herbert Kellman, 280-297. Edited by Barbara Haggh. Paris and Tours: Minerve, 2001.
“Poliziano, Primavera, and Perugia 431: New Light on Fortuna desperata”
In Antoine Busnoys: Method, Meaning, and Context in Late Medieval Music, 465-503. Edited by Paula Higgins. Oxford: Clarendon Press, 1999.
“Foundation for an Empire: The Musical Inheritance of Charles V”
In The Empire Resounds: Music in the Days of Charles V, 18-34. Edited by Francis Maes. Leuven: Leuven University Press, 1999.
Published simultaneously in Dutch as “Grondslag voor een wereldrijk: De muzikale erfenis van Karel V.” In De Klanken van de Keizer: Karel V en de Polyfonie, 18-35. Edited by Francis Maes. Leuven: Leuven University Press, 1999.
“Ockeghem and the Motet-Chanson in Fifteenth-Century France”
In Johannes Ockeghem: Actes du XLe Colloque international d’études humanistes, Tours, 3-8 février 1997, pp. 381-402. Edited by Philippe Vendrix. Paris: Klincksieck, 1998. Reprinted in Secular Renaissance Music, pp. 137–158. Edited by Sean Gallagher. Farnham and Burlington: Ashgate, 2013.
“Another Look at Absalon”
Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 48 (1998): 3-29.
“French Print Chansons and Pierre de la Rue: A Case Study in Authenticity”
In Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood, 187-214. Edited by Jessie Ann Owens and Anthony Cummings. Warren, Michigan: Harmonie Park Press, 1997.
“Art-Song Reworkings: An Overview”
Journal of the Royal Musical Association 119 (1994): 1-42.
“Does Imitatio Exist?”
Journal of Musicology 12 (1994): 152-178.
“Free from the Crime of Venus: The Biography of Pierre de la Rue”
Revista de Musicología 16 (1993): 2673-2683 (Actas del XV congreso de la Sociedad Internacional de Musicología: Culturas musicales del Mediterráneo y sus ramificaciones, Madrid, 3-10 abril 1992, Vol. 5, 121-131).
“Is Underlay Necessary?”
In Companion to Medieval and Renaissance Music, 284-291. Edited by Tess Knighton and David Fallows. London: J.M. Dent, 1992. Paperback edition, Berkeley: University of California Press, 1997.
“Sacred Tricinia and Basevi 2439”
I Tatti Studies: Essays in the Renaissance 4 (1991): 151-199.
“The Manuscript Basevi 2439 and Chanson Transmission in Italy”
In Atti del XIV congresso della Società Internazionale di Musicologia (Bologna 1987), Vol. III, 163-174. Edited by Angelo Pompilio, Donatella Restani, Lorenzo Bianconi, and F. Alberto Gallo. Turin: EDT, 1990.
“Pierre de la Rue and Secular Music at the Court of Marguerite of Austria”
Jaarboek van het Vlaamse Centrum voor Oude Muziek 3 (1987): 49-58.