‘A Masked Ritual and Backwards Priests: Aural and Visual Corruption in Stanley Kubrick’s Eyes Wide Shut’, in J. Cook, A. Kolassa, A. Robinson, and A. Whittaker, eds., History as Fantasy in Music, Sound, Image and Media (Routledge: Abingdon, 2024), pp. 102–119.
The Strasbourg Cantiones of 1539: Protestant City, Catholic Music (Woodbridge: Boydell, 2023). The Cantiones quinque vocum selectissimae (Strasbourg: Peter Schöffer the Younger, 1539) is a collection of 28 Latin five-voice motets. My book considers the historical circumstances surrounding the publication of the Cantiones - including the nature of the connection between Schöffer and Werrecore, and why a Protestant publisher based in Protestant Germany would try to sell Latin music that was endorsed by a Catholic monarch and emphatically had no chance of being performed in its place of publication. A performing edition of the scores is also available at imprimis.uk.
The Singing of the Strasbourg Protestants, 1523-1541 (Farnham: Ashgate, 2015; repr. Routledge: Abingdon, 2016). This book explores the part played by music in the unfolding of the Protestant reforms in Strasbourg. It considers both ecclesiastical and ‘popular’ songs in the city, examining how both genres fitted into people’s lives during this time of strife. Drawing in particular upon a range of sources - including liturgical orders and hymnals, polemical songs, chronicles of the Reformation and text manuscripts - the book explores the methods by which hymns were introduced in Strasbourg churches.
'A Disney Requiem? Iterations of the “Dies irae” in the score to The Lion King (1994)’, Journal of Music and the Moving Image, 15 (2022), pp. 38-66. In Hans Zimmer's score, the “Dies irae” melody not only functions as a standard shorthand for death (as in many scores) but is also of underlying structural importance in several of the film's cues. Thus, the tune retains a sense of secularized association with death while reclaiming some of its spiritual associations with the Requiem Mass.
(trans. W. Fuhrmann) ‘Religiöse Identitäten in Gesang und Kirchenmusik im Jahrhundert der Reformation’, in W. Fuhrmann, ed., Handbuch der Musik der Renaissance: Das Musikleben der Renaissance (vol. 4) (Laaber, Regensburg: Laaber-Verlag, 2019 [forthcoming]). A forthcoming book containing this chapter, which contrasts church music in two religiously reforming cities, Strasbourg and Basel‘Music, Heretics, and Reformers’, in G. McDonald and D. Burn, eds., Music and Theology in the European Reformations (Turnhout: Brepols, 2018). This forthcoming chapter looks at the language used by medieval heretical figures Hus, Wycliffe, and Savonarola, and contrasts it with that used during the Reformation by Luther and others.
‘Thieves, Drunkard and Womanisers? Perceptions of Church Musicians in Early Reformation Strasbourg’, in A. Noblesse-Rocher and R. G. Hobbs, eds., Bible, histoire et société (Turnhout: Brepols, 2013), pp. 383-399. This essay explores attitudes toward the behaviour and morality of church musicians in Strasbourg during the first half of the sixteenth century, from the point of view of the Protestant reformers.
‘The Psalms as a mark of Protestantism: The Introduction of Liturgical Psalm-Singing in Geneva’, Plainsong and Medieval Music, 20, no. 2 (2011), pp. 149-167. This article explores the significance of Genevan reformer Jean Calvin’s interest in the Psalms as theological material, and outlines his views on music and the ways in which his plans for psalm-singing were implemented from the 1540s onwards.
‘"May those who know nothing be content to listen": Loys Bourgeois’s Advertissement to the Psalms (1551)’, Reformation and Renaissance Review, 11, no. 3 (2009 [published in 2011]), pp. 333-345. This is a translation of and commentary on the preface to the 1551 Genevan Psalter by the cantor of Geneva, Loys Bourgeois.
