Plainchant

Early Chant Traditions
    The Introduction of Plainchant in Britain.
    Early Texts on the Authentic Antiphonal, in Parallel Presentation.
    Early Texts on the Authentic Antiphonal, with Latin Original.
    Old Roman Chant, Slide Show.
    Leo IV, papa, Letter to Abbot Honoratus (c.850), on Gregorian Chant.

The Franks
    Salaries at the Schola cantorum.
    Singers at Metz in the Ninth and Tenth Centuries.
    Ekkehard IV, Casus Sancti Galli (early 11th c.), Selections.
    Notker and Martianus on Alphabet Letters.

    Chronology of the Early Sequence.


Individual Chants
    Alleluia Pascha nostrum, Nine Early Sources, Side By Side
    Alleluia Pascha nostrum, Nine Early Sources, Aligned.
    Tractus Deus deus meus, Verses Aligned, With Translation.




Early Polyphony

Theory Translations
    an., De organo on Early Organum (10th/11th cc.).
    Benedicta sit, Example from an. De organo (10th/11th cc.).
    an., Musica enchiriadis (mid-9th c.), with Commentary.


Holschneider Translations
    Holschneider, Andreas, Chapter 2, and Chapter 3 of Die Organa von Winchester: Studien zum ältesten Repertoire polyphoner Musik (Hildesheim: G. Olms, 1968).
    Huglo, Michel, review of Die Organa von Winchester: Studien zum ältesten Repertoire polyphoner Musik by Andreas Holschneider, Revue de Musicologie, 54 1968): 251–253.
    Ziino, Agostino, review of Die Organa von Winchester: Studien zum ältesten Repertoire polyphoner Musik by Andreas Holschneider, Nuova rivista musicale italiana, 4 (1970): 158–60.


Transcription Assignments
Winchester:
    Alleluia Pascha nostrum,
    Alleluia Ymera agias (with transcriptions of recordings based on Berry and Fankin’s editions, respectively)
    Responsory Gaude Maria
    Sequence Multifarie
    Responsory Sint lumbi vestri.
Chartres:
    Alleluia Dies sanctificatus.
    Alleluia Pascha nostrum.
    Alleluia Video celos apertos.
    Gradual Posuisti domine.
Fleury:
    Gradual Omnes de Saba (with plainchant versions)
    Gradual Viderunt omnes (Fleury).


Paris
    trans. of Huglo, Michel, “Les débuts de la polyphonie à Paris: les premiers ‘organa’ parisiens,” Aktuelle Fragen der musikbezogenen Mittelalterforschung, Forum Musicologicum, 3 (1982): 93–163.

Monophony vs Polyphony
    trans. of Wiora, Walter, “Zwischen Einstimmigkeit und Mehrstimmigkeit,” in Walther Vetter, ed., Festschrift Max Schneider zum achtzigsten Geburtstage (Leipzig: Deutscher Verlag für Musik, 1955), 319–334.




The Thirteenth Century

Anonymous IV
    trans. of Christian Meyer, “Le De synemmenis et sa tradition: Contribution à l'étude des mesures du monocorde vers la fin du XIIIe siècle,” Revue de Musicologie, 76 (1990): 83–95.
    Rob C. Wegman, “The World According To Anonymous IV,” in Anna Zayaruznaya, Bonnie J. Blackburn, and Stanley Boorman, eds., Qui musicam in se habet: Studies in Honor of Alejandro Enrique Planchart (Middleton, Wisc.: American Institute of Musicology, 2015), 693–729. Review by Helen Deeming.[1].
    Rob C. Wegman, “Anonymous IV and the Antiqui,” in Music and Instruments of the Middle Ages: Essays in Honour of Christopher Page, eds. Tess Knighton and David Skinner (Woodbridge, Suffolk: The Boydell Press, 2020), 121–152.

Magnus liber organi
    The Organum Viderunt omnes and Its Notation.
    Scribal Hands in Notre Dame Sources.
    trans. of Galán, Jesús Martín, “Un fragmento polifónico de ‘Ars Antiqua’ en Castilla: transcripción y fuentes paralelas,” Revista de musicología, 13 (1990): 579–614.
    The Organum Viderunt omnes and Its Notation.
    Reconstruction of the Worm-Eaten Fragment Worcester Cathedral Q19.
    Transmission patterns in 13th and 14th-Century Polyphonic Sources.
    Musical Units in MLO O10 and O11, and Their Fate in Transmission.
    Transmission of M12 and M51, after Roesner.

Notre Dame and Motet Notation
    trans. of Robert Lug, “Das ‘vormodale’ Zeichensystem des Chansonnier de Saint-Germain-des-Prés,” Archiv für Musikwissenschaft, 52 (1995): 19–65.
    trans. of Luigi Lera, “Grammatica della notazione di Notre-Dame,” Acta Musicologica, 61 (1989), 150–174.
    trans. of Enrico Pesce, “Sulla legittimità della cosiddetta ‘notazione modale’: commento critico alla ‘Grammatica della notazione di Notre-Dame, di Luigi Lera,” in Musicam in subtilitate scrutando: Contributi alla storia della teoria musicale, eds. Curatela Maria Teresa Rosa-Barezzani, Daniele Sabaino, and Rodobaldo Tibaldi; Studi e Testi Musicali 7 (1995), 89–110.
    trans. of Fritz Reckow, “Proprietas und perfectio: Zur Geschichte des Rhythmus, seiner Aufzeichnung und Terminologie im 13. Jahrhundert,” Acta Musicologica, 39 (1967): 115–143.
    The Organum Viderunt omnes and Its Notation.
    Discant Clausulas in the Two-part Organum Viderunt omnes.

Clausula and Motet
    trans. of Hofmann, Klaus, “Zur Entstehungs- und Frühgeschichte des Terminus Motette,” Acta Musicologica, 42 (1970): 138–150.
    trans. of Frobenius, Wolf, “Zum genetischen Verhöltnis zwischen Notre-Dame-Klauseln und ihren Motetten,” Archiv für Musikwissenschaft, 44 (1987): 1–39.
    Discant Clausulas in the Two-part Organum Viderunt omnes.
    Dominus as Clausula and Motet.
    Triadic Sonorities and Ficta in Se je chante (Montpellier).
Franco and Lambertus
    trans. of Franco of Cologne, Ars cantus mensurabilis (c.1280).
    trans. of Frobenius, Wolf, “Zur Datierung von Francos ‘Ars cantus mensurabilis’,” Archiv für Musikwissenschaft, 27 (1970): 122–127.
    Magister Lambertus, Ars musica, Synoptic arrangement of the Sources.
    trans. of Fritz Reckow, “Proprietas und perfectio: Zur Geschichte des Rhythmus, seiner Aufzeichnung und Terminologie im 13. Jahrhundert,” Acta Musicologica, 39 (1967): 115–143.




The Fourteenth Century

Vitry and Muris
    Philippe de Vitry, Ars nova (c.1315-1320), source comparison.
    trans. of Johannes de Muris, Ars practica musicae (early 14th c.), on Mensural Notation.
    trans. of Philippe de Vitry, Ars contrapuncti (presumably 1330s).

Jacobus of Liège and Docta sanctorum patrum
    trans. of Jacobus of Liège, De consonantiis musicalibus.
    trans. of Jacobus of Liège, Compendium de musica (early 14th c.).
    trans. of Jacobus of Liège, Speculum musicae, Book VII (1320s).
    Rob C. Wegman, “Jacobus de Ispania and Liège,” Journal of the Alamire Foundation, 8 (2016): 253–74.
    trans. of Pope John XXII, Papal Bull Docta sanctorum patrum (1324/1325).

Petrus dictus Palma ociosa
    trans. of Petrus dictus Palma ociosa, Compendium (1336), on discantus simplex.
    Petrus dictus Palma ociosa’s Flowers of Mensural Music (1336).
    Earliest Known Example of Counterpoint Ever (1336).

Johannes Boen
    trans. of Johannes Boen, Ars musicae (early 14th c.), on Mensural Notation.
    trans. of Johannes Boen, Musica (1357), on the Monochord Part 1.
    trans. of Johannes Boen, Musica (1357), on the Monochord Part 2.

Guillaume de Machaut
    Triadic Sonorities and Ficta in Biaute qui toutes

Secular and Instrumental
    Ficta and Triadic Sonorities in Solage, Pluseurs gens voy.
    The Most Beatiful Song of the Fourteenth Century: Solage’s Pluseurs gens voy.
    “The Minstrel School in the Late Middle Ages,” Historic Brass Society Journal, 14 (2002): 11–30.
    “New Light on Secular Polyphony at the Court of Holland in the Early Fifteenth Century: The Amsterdam Fragments,” Journal of the Royal Musical Association, 117 (1992): 181–207.
    Magister Joris Henricxzone, Laisse moy t’emmener from the Duivenvoort fragment (mp3). Conclusive proof that the song and lyrics we know today as “Strawberry Fields” were current in the Netherlands as early as the 1300s.
    Middle-Dutch “Market Cries” Motet, Late Fourteenth Century.
    Reconstruction of a Fourteenth Century Organ, in Stockholm.


Compositions
    The Most Beautiful Song of the Fourteenth Century: Solage’s Pluseurs gens voy.
    Ficta and Triadic Sonorities in Solage, Pluseurs gens voy.
    Magister Joris Henricxzone, Laisse moy t’emmener from the Duivenvoort fragment (mp3). Conclusive proof that the song and lyrics we know today as “Strawberry Fields” were current in the Netherlands as early as the 1300s.
    Middle-Dutch “Market Cries” Motet, Late Fourteenth Century.


Sources
    Transmission patterns in 13th and 14th-Century Polyphonic Sources.

Mentalities, Sensibilities, and Attitudes
    Fourteenth Century Attitudes to Dress and Music.







The Renaissance

Archival Research
    “Music and Musicians at the Guild of Our Lady at Bergen op Zoom, c.1470–1510” Early Music History, 9 (1989): 175–249. Review by Stanley Boorman.[1]
    Exchange with Jennifer Bloxam, regarding “In Praise of Spurious Saints: The Missae Floruit egregiis by Pipelare and La Rue” Journal of the American Musicological Society, 45 (1992): 161–65.
    “Agricola, Bordon, and Obrecht at Ghent: Discoveries and Revisions,” Revue belge de musicologie, 51 (1997): 23–62.
    “Pater meus agricola est: The Early Years of Alexander Agricola,” Early Music, 34 (2006): 375–90.
    “Ockeghem, Brumel, Josquin: New Documents in Troyes,” Early Music, 36 (2008): 203–18.
    “The Testament of Jehan de Saint Gille,” Revue de musicologie, 95 (2009): 7–36.
    “Fremin le Caron at Amiens: New Documents,” Bon jour, bon mois et bonne estrenne: Essays on Renaissance Music in Honour of David Fallows, eds. Fabrice Fitch and Jacobijn Kiel (Woodbridge: Boydell and Brewer, 2011), 10–32. Review by Darwin F. Scott.[1]
    Clemens non Papa’s Troubles in
Bruges and Elsewhere (1540s and 1550s).

Sources and Transmission
    “New Data Concerning the Origins and Chronology of Brussels, Koninklijke Bibliotheek, Manuscript 5557,” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 36 (1986): 5–25.
    Choirbook of the Burgundian Court Chapel: Brussels, Koninklijke Bibliotheek, Manuscript 5557 (Peer: Alamire, 1989).
    “The Twelfth Gathering of Brussels, Koninklijke Bibliotheek, Manuscript 5557,” in Eddie Vetter and Rob C. Wegman, eds., Liber Amicorum Chris Maas: Essays in Musicology in Honour of Chris Maas on his 65th Anniversary (University of Amsterdam: Music Department, 1987), 15–25. Addition (2023).
    “Miserere supplicanti Dufay: The Creation and Transmission of Guillaume Dufay’s Missa Ave regina celorum,” Journal of Musicology, 13 (1995): 18–54.     Winner of the Alfred Einstein Award of the American Musicological Society.
    “Publication Before Printing: How Did Flemish Polyphony Travel in Manuscript Culture?” (2010)", Books in Transition at the Time of Philip the Fair. Manuscripts and Printed Books in the Late Fifteenth and Early Sixteenth Century Low Countries, ed. Hanno Wijsman, with Ann Kelders and Susie Speakman Sutch, Burgundica, xv (Turnhout: Brepols, 2010), 165–80.
    “The Segovia Manuscript: Another Look at the ‘Flemish Hypothesis’,” in The Segovia Manuscript: A European Musical Repertory in Spain, c.1500, eds. Wolfgang Fuhrmann and Cristina Urchueguía (Woodbridge, Suffolk: The Boydell Press, 2019), 193–213.


Notation
    “Different Strokes for Different Folks? On Tempo and Diminution in Fifteenth-Century Music,” Journal of the American Musicological Society, 53 (2000): 461–505.
    “Mensural Intertextuality in the Sacred Music of Antoine Busnoys,” in Paula Higgins, ed., Antoine Busnoys: Method Meaning, and Context in Late Medieval Music (Oxford: Clarendon Press, 1999), 175–214. Reviews by Mitchell P. Brauner,[1] Jeffrey Dean,[2] and Elizabeth Eva Leach.[3]
    “What is Acceleratio mensurae?Music & Letters, 73 (1992): 515–24.
    “Concerning Tempo in the English Polyphonic Mass, c.1420–70,” Acta musicologica, 61 (1989): 40–65.


The Cyclic Mass
    “An Anonymous Twin of Johannes Ockeghem’s Missa Quinti toni in San Pietro B80,” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 37 (1987): 25–48.
    “The Anonymous Mass D’Ung aultre amer: A Late Fifteenth-Century Experiment” The Musical Quarterly, 74 (1990): 566–94.
    “Petrus de Domarto’s Missa Spiritus almus and the Early History of the Four-Voice Mass in the Fifteenth Century" Early Music History, 10 (1991): 235–303. Review by Peter Wright.[1]
    “Guillaume Faugues and the Anonymous Masses Au chant de lalouete and Vinnus Vina,” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 41 (1991): 27–64.
    “Miserere supplicanti Dufay: The Creation and Transmission of Guillaume Dufay’s Missa Ave regina celorum,” Journal of Musicology, 13 (1995): 18–54. Winner of the Alfred Einstein Award of the American Musicological Society.
    Another Look at the Kyrie of Tinctoris.
    an., Missa O Venus bant a5, Gloria (c.1500).


Composers
    “Miserere supplicanti Dufay: The Creation and Transmission of Guillaume Dufay’s Missa Ave regina celorum,” Journal of Musicology, 13 (1995): 18–54.
    “The Testament of De Saint Gille,” Revue de musicologie, 95 (2009): 7–36.
    “Isaac’s Signature,” Journal of Musicology, 28 (2011): 9–33.
    Musical Treasures of Franchinus Gaffurius: Text and Handout.
    “Agricola, Bordon, and Obrecht at Ghent: Discoveries and Revisions,” Revue belge de musicologie, 51 (1997): 23–62.
    “Pater meus agricola est: The Early Years of Alexander Agricola,” Early Music, 34 (2006): 375–90.
    “Ockeghem, Brumel, Josquin: New Documents in Troyes,” Early Music, 36 (2008): 203–18.
    “Fremin le Caron at Amiens: New Documents,” Bon jour, bon mois et bonne estrenne: Essays on Renaissance Music in Honour of David Fallows, eds. Fabrice Fitch and Jacobijn Kiel (Woodbridge: Boydell and Brewer, 2011), 10–32. Review by Darwin F. Scott.[1]
   
Clemens non Papa’s Troubles in Bruges and Elsewhere (1540s and 1550s).


Musicians
    “Music and Musicians at the Guild of Our Lady at Bergen op Zoom, c.1470–1510” Early Music History, 9 (1989): 175–249. Review by Stanley Boorman.[1]
    Bio-Bibliography of Singers For the Years 1450-1500.
    “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500,” Journal of the American Musicological Society, 49 (1996): 409–79.
    “The Minstrel School in the Late Middle Ages,” Historic Brass Society Journal, 14 (2002): 11–30.


Antoine Busnoys
    “Busnoys’s Anthoni usque limina and the Order of Saint-Antoine-en-Barbefosse in Hainaut,” Studi musicali, 17 (1988): 15–31.
    Exchange with Richard Taruskin regarding “Antoine Busnoys and the L’Homme armé Tradition,” Journal of the American Musicological Society, 42 (1989): 437–43.
    “Another ‘Imitation’ of Busnoys’s Missa L’Homme armé—And Some Observations on Imitatio in Renaissance Music,” Journal of the Royal Musical Association, 114 (1989): 189–202.
    “Another Mass by Busnoys?” Music & Letters, 71 (1990): 1–19. Awarded the Westrup Prize for 1990.
    Exchange with Richard Taruskin (1991-1992), regarding “Another Mass by Busnoys?– Music & Letters, 71 (1990): 633–35; Music & Letters, 72 (1991): 350.
    “For Whom The Bell Tolls: Reading and Hearing Busnoys’s Anthoni usque limina,” in Dolores Pesce, ed., Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance (New York: Oxford University Press, 1996), 122–41. Reviews by Susan Kidwell[1] and Sean Gallagher.[2]
    “Mensural Intertextuality in the Sacred Music of Antoine Busnoys,” in Paula Higgins, ed., Antoine Busnoys: Method Meaning, and Context in Late Medieval Music (Oxford: Clarendon Press, 1999), 175–214. Reviews by Mitchell P. Brauner,[1] Jeffrey Dean,[2] and Elizabeth Eva Leach.[3]


Jacob Obrecht
    “Music and Musicians at the Guild of Our Lady at Bergen op Zoom, c.1470–1510” Early Music History, 9 (1989): 175–249. Review by Stanley Boorman.[1]
    Born for the Muses: The Life and Masses of Jacob Obrecht (Oxford: Oxford University Press, 1994; paperback edn. 1996). Reviews by amongst others Thomas Brothers,[1] Willem Elders,[2] Laurenz Lütteken,[3] Patrick Macey,[4] Peter Phillips,[5] Martin Picker,[6] Richard Sherr,[7] Pamela Starr,[8] and Peter Urquhart.[9].
    “De componist Jacob Obrecht (c.1457–1505) was inderdaad een Gentenaar,” (1993) [jointly with Daniel Lievois], Handelingen der Maatschappij voor Geschiedenis en Oudheidkunde te Gent, 47 (1993): 101–25.
    “Obrecht, Jacob,” New Grove Dictionary of Music and Musicians (2nd edn.; London: MacMillan, 2001), 18: 290–307.
    “Obrecht and Erasmus,” Journal of the Alamire Foundation, 3 (2011): 109–23.
    Jacob Obrecht, Agnus Dei (c.1495).


Johannes Tinctoris
    “What is Acceleratio mensurae?” Music & Letters, 73 (1992): 515–24.
    “
Sense and Sensibility in Late-Medieval Music: Reflections on Aesthetics and ‘Authenticity’,” Early Music, 23 (1995): 298–312.
    “Johannes Tinctoris and the ‘New Art’,” Music & Letters, 84 (2003): 171–88.
    “ ‘Musical Understanding’ in the Fifteenth Century,” Early Music, 30 (2002): 46–66.
    “Johannes Tinctoris and the Art of Listening,” Studies on Renaissance Music in Honour of Ignace Bossuyt, ed. Pieter Bergé and Marc Delaere (Leuven: Leuven University Press, 2008): 279–96.
    “Tinctoris’s Magnum Opus,” ‘Uno gentile et subtile ingenio’: Studies in Renaissance Music in Honor of Bonnie Blackburn, eds. Gioia Filocamo and Mary Jennifer Bloxam (Turnhout: Brepols, 2009), 771–82.
    “Tinctoris’s Minimum Opus,” Revue belge de musicologie, 73 (2019): 5–22.
    Another Look at the Kyrie of Tinctoris.


Josquin des Prez
    Chronological Stratigraphy of the Works of Josquin.
    “‘And Josquin Laughed . . .’: Josquin and the Composer’s Anecdote in the Sixteenth Century,” The Journal of Musicology, 17 (1999): 319–57.
    “Who Was Josquin?– in Richard Sherr, ed., The Josquin Companion (Oxford: Oxford University Press, 2000), 21–50. Reviews by Allan W. Atlas,[1] Carlo Fiore,[2] Martin Picker,[3] and Stephanie P. Schlagel.[4]
    “The Other Josquin,” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, 58 (2008): 33–68.
    “Ockeghem, Brumel, Josquin: New Documents in Troyes,” Early Music, 36 (2008): 203–18.
    Josquin des Prez, Benedicta es celorum regina (c.1515-1520)
    Kyrie I of Missa Une mousse de Biscaye, Original, and ‘Broken’ in Late 15th-c. Style; Notated on p. 3 of This Handout.
    Understanding the Style of Josquin’s Missa Une mousse de Biscaye
    Josquin des Prez, (c.1505) Missa Rosina , Credo.
    Josquin des Prez, Missa Quem dicunt homines, Agnus Dei III (c.1515).
    Jean Richafort, Motet Quem dicunt homines (c.1510).


Counterpoint and the Art of Composition
    “Roads Taken and Not Taken in Medieval Music: The Case of False Counterpoint,” Vom Preis des Fortschritts: Gewinn und Verlust in der Musikgeschichte, eds. Andreas Dorschel and Andreas Haug, Studien zur Wertungsforschung, 49 (Vienna: Universal Edition, 2008), 142–60.
    “Compositional Process in the Fifteenth-Century Motet,” On the Relationship of Imitation and Text Treatment? The Motet around 1500, ed. Thomas Schmidt-Beste, Collection Epitome musicale (Turnhout: Brepols, 2012), 175–95. A recording of Reginam salvet Deus can be heard here.
    Musical Treasures of Franchinus Gaffurius: Text and Handout.
    The Binchois Game.
    Another Look at the Kyrie of Tinctoris.
    Ippolito Camaterò di Negri: Puer natus est a5, and Vultum tuum deprecabuntur a6 (1574).
    Clemens non Papa, Erravi sicut ovis (c. 1550), complete score and mp3; recomposition exercise, mm. 10-19 (mp3); and three recomposed versions, with mp3.
    Cadences and Closure in the Renaissance.
    Pervading Imitation in Gomberts Motet Ave regina celorum.


Cultural History of Music
    The Crisis of Music in Early Modern Europe, 1470–1530 (New York: Routledge, 2005; paperback edn. 2007). Reviews by Theodor Dumitrescu,[1] James Haar,[2] and Leeman L. Perkins.[3]
    “ ‘Musical Understanding’ in the Fifteenth Century,” Early Music, 30 (2002): 46–66.
    “Luther’s Gospel of Music,” in Michael Klaper, ed., Luther im Kontext: Reformbestrebungen und Musik in der ersten Hölfte des 16. Jahrhunderts, Studien und Materialien zur Musikwissenschaft, 95 (Hildesheim, Zürich, and New York: Olms, 2016), 175–200.
    “Isaac’s Signature,” Journal of Musicology, 28 (2011): 9–33.
    “Johannes Tinctoris and the Art of Listening,” Studies on Renaissance Music in Honour of Ignace Bossuyt, ed. Pieter Bergé and Marc Delaere (Leuven: Leuven University Press, 2008): 279–96.


Music After 1520
    Nicolas Gombert, Missa Quam pulchra es (1532): Kyrie, Gloria, Credo, Sanctus, Agnus Dei.
    Clemens non Papa, Erravi sicut ovis (c. 1550), Complete Score and mp3.
    Clemens non Papa, Erravi sicut ovis (c. 1550), Recomposition Exercise, mm. 10-19 (mp3).
    Clemens non Papa, Erravi sicut ovis (c. 1550), mm.10-19: Three Recomposed Versions, with mp3.
    Pervading Imitation in Gomberts Motet Ave regina celorum.
    Hermann Finck, Motet Te maneat semper (1556).
    Jacobus Clemens non Papa, Erravi sicut ovis a4 (c.1550).



Shakespeare
(in progress)


    Sonnet 8, Being Many, Seeming One.
    Sonnet 128, The Sound of Dead Wood.
    Hamlet, Bad Quarto vs Good Quarto.
    Much Ado About Nothing, Music and Courtliness.
    Much Ado About Nothing, “Sigh No More.”
    Othello, The Willow Song: Side-By-Side Comparison.
    Romeo and Juliet, “Music With Her Silver Sound.”
    The Merchant of Venice, Prodigies of Nature.
    The Merchant of Venice, Gernutus the Jew.
    The Taming of the Shrew, Acts I.1 and II.1 (BBC, 1980).
    The Taming of the Shrew, The Music Lesson, Two Versions.
    The Taming of the Shrew, A Music Tutor in Love.
    The Two Gentlemen of Verona, Metaphor and Decorum.
    The Two Gentlemen of Verona, The Power of the Eyes.
    The Two Gentlemen of Verona, “Who Is Sylvia?”
    The Two Gentlemen of Verona, Falling in Love on Stage.
    The Two Gentlemen of Verona, Metaphor and Decorum.
    The Two Gentlemen of Verona: Rob C. Wegman, “ ‘’Tis not so sweet now, as it was before’: Origins and Significance of A Musical Topos,” Musik des Mittelalters und der Renaissance: Festschrift Klaus-Jürgen Sachs zum 80. Geburtstag, eds. Rainer Kleinertz, Christoph Flamm, and Wolf Frobenius, Studien zur Geschichte der Musiktheorie, 8 (Hildesheim: Georg Olms Verlag, 2010), 513–39.
    Twelfth Night, The Food of Love.
    Twelfth Night, Manningham’s Diary.
    Twelfth Night, The Puritans and Music.
    Twelfth Night, The Actors’ Remonstrance.




Counterpoint
(in progress)

    Triadic Sonorities and Ficta in Se je chante (Montpellier), Machaut’s Biaute qui toutes, and Solage’s Pluseurs gens voy.
    Marchetto of Padua’s “Directed Progression”.
    Rob C. Wegman, “What is Counterpoint? (2015) in Dirk Moelants, ed., Improvising Early Music: The History of Musical Improvisation from the Late Middle Ages to the Early Baroque, Collected Writings of the Orpheus Institute, 11 (Leuven: Leuven University Press, 2014), 9–68. Reviewed by Alon Schab.[1]
    Earliest Known Example of Counterpoint Ever (1336).
    Petrus dictus Palma ociosa’s Flowers of Mensural Music (1336).
    trans. of Pope John XXII, Papal Bull Docta sanctorum patrum (1324/1325).
    trans. of Philippe de Vitry, Ars contrapuncti (presumably 1330s).
    “Compositional Process in the Fifteenth-Century Motet,” On the Relationship of Imitation and Text Treatment? The Motet around 1500, ed. Thomas Schmidt-Beste, Collection Epitome musicale (Turnhout: Brepols, 2012), 175–95. A recording of Reginam salvet Deus can be heard here.
    Marchetto of Padua’s “Directed Progression”.


Historiography
(in progress)

    “The State of the Art,” Renaissance? Perceptions of Continuity and Discontinuity in Europe, c.1300–c.1550, ed. Alexander Lee, Pit Péporté, and Harry Schnitker (Leiden: Brill, 2010), 129–60.
    “The Creation of a Musical élite in Early Modern Europe,” Institutionalisierung als Prozess – Organisationsformen musikalischer Eliten im Europa des 15. und 16. Jahrhunderts, eds. Birgit Lodes and Laurenz Lütteken, Analecta Musicologica, 43 (Laaber: Laaber Verlag, 2009), 103–14.
    “Musical Offerings in the Renaissance,” Early Music, 33 (2005): 425–38.
    “New Music for a World Grown Old: Martin Le Franc and the ‘Contenance angloise’,” Acta musicologica, 75 (2003): 201–241.
    “Historical Musicology: Is it Still Possible?– in Richard Middleton, Martin Clayton, and Trevor Herbert, eds., The Cultural Study of Music: A Critical Introduction (New York: Routledge, 2003), 136–45; repr. 2012, pp. 40–48. Reviews by Nikša Gligo[1] and Abigail Wood.[2]
    “‘Musical Understanding’ in the Fifteenth Century,” Early Music, 30 (2002): 46–66.
    “‘Das musikalische Hören’ in the Middle Ages and Renaissance: Perspectives from Pre-War Germany,” The Musical Quarterly, 82 (1998): 434–455.
    “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500,” Journal of the American Musicological Society, 49 (1996): 409–79.
The Crisis of Music in Early Modern Europe, 1470–1530 (New York: Routledge, 2005; paperback edn. 2007). Reviews by Theodor Dumitrescu,[1] James Haar,[2] and Leeman L. Perkins.[3]
    “Musica Ficta,” in Tess Knighton and David Fallows, eds., Companion to Medieval and Renaissance Music (London: Dent, 1992), 265–74.
Cadences and Closure in the Renaissance.
Terzen und Dreiklänge in pythagoreischer Stimmung.
Introduction to Textual Criticism (MUS 517), 2023.
A Historical Enquiry into Musical Understanding (MUS 431), 2007.
A History of Consonance and Dissonance (MUS 431), 2013.
A History of Western Musical Aesthetics (MUS 335), 2000-2002.
Music, Gender and Sexuality from Middle Ages to Present (MUS 334), 1998.
History of Counterpoint and Composition I: Up to the 1440s (MUS 525), 2007.