Dr. Lori Kruckenberg

Lori Kruckenberg is associate professor of musicology, currently at the University of Oregon. She teaches undergraduate and graduate courses on medieval and early modern music as well as specialty courses in musical paleography.

 

Lori’s previous graduate seminars have dealt with non-Gregorian monophony (sequences, tropes, ‘nova cantica’), concepts of compositio and musical authorship, and early musical practices in England. She has co-taught interdisciplinary seminars on “Performing Medieval Pilgrimage” with Prof. Gina Psaki (Romance languages) and “Music and Lyric of Medieval Iberia” with Prof. David Wacks (Romance languages). The musical practices of women religious, i.e., cantrices, have been the focus of several seminars. A seminar on liturgical drama is planned for 2020.

Kruckenberg was a Fulbright scholar to Germany (1992–94) and she continued her doctoral research at the Universität Erlangen-Nürnberg through 1996. Prior to her arrival at the UO, she held positions at the University of Iowa and University of Louisville. She returned to Germany during part of 2008–2009 as a senior Fulbright scholar at the Julius-Maximilians-Universität in Würzburg, Germany. She also was a visiting professor at the Universität Basel during 2008–09.

Her research and publications have especially concentrated on the liturgical sequence and proper tropes of the mass, and issues related to the reception history, transmission, and performance practices of these types of music.  Other work delves into the musical lives of women religious. Her articles have appeared in a number of journals, conference proceedings, lexicons, and series including Revue bénédictine, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Cantus Planus, Berichte des Internationalen Kongresses der Gesellschaft für Musikforschung, Die Musik in Geschichte und Gegenwart (MGG), Journal of the Alamire Foundation, and Beiträge zur rheinischen Musikgeschichte. Her chapter on the liturgical sequence appears in the two-volume compendium The Cambridge History of Medieval Music (2018). Other major studies include “Neumatizing the Sequence: Special Performances of Sequences in the Central Middle Ages” in the Journal of American Musicology (2006) and “Music for John the Evangelist: Virtue and Virtuosity at Paradies,” in Harvard’s Houghton Library Studies (2008). Her work on the musically-informed chronicler Ekkehard IV appears in Medieval Music in Practice: Studies in Honor of Richard Crocker (2013) and Medieval Cantors and Their Craft (2017). A chapter on the education on medieval women religious is forthcoming in Cambridge Companion to Hildegard of Bingen (ed. by Jennifer Bain) and a study on medieval discourse on women’s voices in the ecclesiastical tradition for a volume on Female-Voice Song in the Middle Ages (ed. by Anna Kathryn Grau and Lisa Colton) is underway (Brill 2021).

Her volume New Sources for Proper Tropes: 11th to 16th Centuries will be published by Bärenreiter in 2019. Previously she edited and produced chapters for The Sequences of Nidaros: A Nordic Repertory and Its European Context (2006). She is currently preparing a monograph the traditions of the medieval German cantrix, and is also the volume editor of sequences for Corpus monodicum.

Awards include the 2012 Noah Greenberg Prize from the American Musicological Society, the Oregon Humanities Center, Williams Council, UO Center for the Study of Women in Society, and the Oregon Community Credit Union Research Fellowship.

Kruckenberg has lectured and presented papers at universities in Würzburg, Dublin, Cambridge, Oxford, Southampton, Basel, Erlangen-Nuremberg, Jena, Trondheim, and Boulder, and various conferences and symposia at Harvard, Yale, Notre Dame (IN), London, Bangor, Utrecht, Antwerp, Basel, Cologne, Mainz, Paderborn, Weimar, Tübingen, Weingarten, Munich, Regensburg, Niederaltaich, Venice, Salzburg, Graz, Vienna, and Lillafüred. She regularly presents at meetings of the American Musicological Society, International Musicological Society’s Cantus Planus, and the International Congress on Medieval Studies at Kalamazoo as well as at the International Med-Ren Music Conference, the Medieval Association of the Pacific, Mid-America Medieval Association Conference the Sewanee Medieval Colloquium, the Medieval Academy of America, and the International Medieval Congress at Leeds.

She currently serves on the editorial boards of Plainsong and Medieval Music and of Corpus monodicum.

 Selected Awards and Honors

  • The Bonnie Wheeler Fellowship, 2019 ($15,000) support for 2019–2020 for the monograph project Cantrices: Women Cantors in the German-Speaking Lands, ca. 870–ca. 1520

  • Williams Council Teaching – 2018 award continuance (see below); co-taught Performing Medieval Pilgrimage in spring 2018

  • Oregon Humanities Grant, teaching release, Fall 2017 Center for the Study of Women in Society (CSWS) Faculty Research Grant ($6000) for “Beyond Hildegard: Female Cantors in the German-Speaking Lands, 900–1400,” 2014–2015

  • American Musicological Society’s Noah Greenberg Award for “Sounding the Neumatized Sequence,” a collaborative research-performance project with Prof. Michael Anderson and the Schola Antiqua of Chicago ($2000).

    The Greenberg Award was seed money for a larger project, 2012–2013 financed through Prof. Anderson’s University of Rochester’s Provost Multidisciplinary Award ($47,000)

  • University of Oregon School of Music and Dance Innovation Award ($6000 for research and teaching “Cantrix Project”), 2012–2013

  • Williams Council Award (joint award shared with Profs. Psaki, Wacks, Mentsel – $24,000), 2011–2014

  • Fulbright Award (Germany), 2008–2009

  • Recording project/ Textlessness in the Middle Ages, Schola Cantorum Basiliensis, 2008–2009 Oregon Community Credit Union Research Fellowship, 2007; co-recipient with Eric Mentzel Oregon Humanities Grant, teaching release, Fall 2005

  • University of Oregon New Faculty Research Award, Summer 2002

  • The Graduate Dean's Distinguished Dissertation Award (university-wide), 1997

  • Rita Benton Outstanding Dissertation Award, 1997

  • Fulbright Renewal Grant, 1993–1994

  • Fulbright Scholarship (Germany), 1992–1993

Publications

Books and Edited Books

Cantrices: Women Cantors in the German-Speaking Lands, ca. 870–1520 [working title of work-in- progress]

New Sources for Proper Tropes: 11th to 16th Centuries. Monumenta Monodica Medii Aevi, Subsidia 8. Kassel: Bärenreiter, 2021.

The Sequences of Nidaros: A Nordic Repertory and Its European Context, edited by Lori Kruckenberg and Andreas Haug. Skrifter nr. 20. Trondheim: Tapir Academic Press, 2006.

  • * peer reviewed /edited
    ‡ invited submission/ commissioned work

    *‡ “Composers, New Chants and Compositional Processes: Congaudentes exultemus and the Tale of a Composer(s) in the Middle Ages, ed. Gaël Saint-Cricq and Anne-Zoé Rillon- Marne. Studies in Medieval and Renaissance Music. Woodbridge, Suffolk: Boydell and Brewer (forthcoming 2022)

    *‡ “The Liber ymnorum Notkeri as Book Type and Repertory: Toward a Typology of the Early German Sequentiary, ca. 884– ca. 1125.” In: Zur Typologie liturgischer Bücher des westlichen Mittelalters, ed. by Harald Buchinger, Andrew J. M. Irving and Reinhard Meßner. Liturgiewissenschaftliche Quellen und Forschungen. Münster: Aschendorff (in press).

    *‡ “Literacy and Learning in the Lives of Women Religious in Medieval Germany.” In Cambridge Companion to Hildegard of Bingen, edited by Jennifer Bain, pp. 52–82. Cambridge: Cambridge University Press, November 2021.

    *‡ “Sequence.” In The Cambridge History of Medieval Music, 2 vols., edited by Mark Everist and T. F. Kelly, pp. 300–356. Cambridge: Cambridge University Press, 2018.

    *‡ “Singing History: Musical Detail in the Casus Sancti Galli.” In Medieval Cantors and Their Craft: Music, Liturgy, and the Shaping of History (800–1500), edited by Katie Bugyis, Andrew Kraebel, and Margot Fassler, pp. 59–88. Writing History in the Middle Ages 3. Woodbridge, Suffolk: York Medieval Press of Boydell and Brewer, 2017.

    *‡ “Zu den Propriumstropen in der liturgischen Musikpraxis des Kölner Raums.” In Musik der mittelalterlichen Metropole. Räume, Identitäten und Kontexte der Musik in Köln und Mainz, ca. 900–1400, edited by Fabian Kolb, pp. 157–197. Beiträge zur rheinischen Musikgeschichte. Kassel: Merseburger, 2016.

    *“The Relationship between the Festal Office and the New Sequence: Evidence from Medieval Picardy.” Journal of the Alamire Foundation 5 (2013): 201–33.

    *‡“Ekkehard’s Use of Musical Detail in the Casus Sancti Galli.” In Medieval Music in Practice: Studies in Honor of Richard Crocker, edited by Judith Peraino, pp. 23–57. Middleton, Wisconsin: American Institute of Musicology, 2013.

    *‡ “The Absence of Transmission: Symptoms of a Musical-Cultural Reception Barrier between the West- and East Frankish Regions.” In Musik und kulturelle Identität: Bericht über den XIII. Internationaler Kongress der Gesellschaft für Musikforschung in Weimar, 3 vols., edited by Detlef Altenburg and Rainer Bayreuther, vol. 3: pp. 466–476. Kassel and New York: Bärenreiter, 2012.

    *‡ “Music for John the Evangelist: Virtue and Virtuosity at Paradies.” In Leaves from Paradise: The Cult of John at the Dominican Convent Paradies bei Soest, pp. 133–160, edited by Jeffrey F. Hamburger. Houghton Library Studies. Cambridge, MA: Houghton Library, distributed by Harvard University Press, 2008.

    ‡“Transmission, Reception, Resistance and Adaptation of Sequentiae novae of ca. 1100.” In Kulturtransfer. Perspektiven eines Forschungsansatzes, edited by Hartmut Kugler. Beiträge der Internationalen Konferenz des Erlanger Graduiertenkollegs ‚Kulturtransfer im europäischen Mittelalter‘, 2007. Typescript reviewed and accepted in December 2008/ im Druck seit 2009. [16 pages typescript]

    *“The Lotharingian Axis and Monastic Reforms: Towards the Recovery of an Early Messine Trope Tradition.” In Cantus Planus – Study Group of the International Musicological Society: Papers Read at the Twelfth Meeting, Lillafüred, Hungary. 23–28 August 2004, edited by László Dobszay, et al., pp. 723–752. Budapest: Hungarian Academy of Sciences, 2006.

    *“Neumatizing the Sequence: Special Performances of Sequences in the Central Middle Ages,” Journal of American Musicological Society 59, no. 2 (Summer 2006): 243–317.

    ‡“Making a Sequence Repertory: The Tradition of the Ordo Nidrosiensis Ecclesiae.” In The Sequences of Nidaros: A Nordic Repertory and Its European Context, pp. 5–44, edited by Lori Kruckenberg and Andreas Haug, Skrifter no. 20. Trondheim: Tapir Academic Press, 2006.

    *‡“Two Sequentiae novae at Nidaros: Celeste organum and Stola iocunditatis.” In The Sequences of Nidaros: A Nordic Repertory and Its European Context, edited by Lori Kruckenberg and Andreas Haug, pp. 297–342. Skrifter no. 20. Trondheim: Tapir Academic Press, 2006.

    *“Some Observations on a Troparium Tardivum. The Proper Tropes in Utrecht, Universiteitsbiblio- theek, 417.” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 53/1–2 (2003): 151–182.

    *Zur Rekonstruktion des Hirsauer Sequentiars.” Revue bénédictine 109/1–2 (1999): 186–207.

    *‡ “Sequenz.” In Die Musik in Geschichte und Gegenwart (Second Revised Edition), Sachteil, 8: cols. 1254–1286. Ludwig Finscher, general editor. Kassel and Stuttgart: Bärenreiter/Metzler, 1998.

    *‡ “Zur Hirsauer Prägung der liturgischen Musikpraxis an St. Peter in Salzburg.” In Musica sacra medievalis Geistliche Musik Salzburgs im Mittelalter, edited by Stefan Engels and Gerhard Walterskirchen, pp. 49–54. Studien und Mitteilungen zur Geschichte des Benediktordens 40. St. Ottilien: EOS Verlag, 1998.

  • *‡ “Graduale aus Cluny.” In Canossa 1077: Erschütterung der Welt. Geschichte, Kunst und Kultur am Aufgang der Romanik, [21. Juli bis 5. November 2006, Ausstellungskatalog], 2 vols. Edited by Christoph Stiegemann und Matthias Wemhoff, (4 pp). Munich: Hirmer Verlag, 2006.

    *‡ “Sequentiary.” In Religion in Past and Present, vol 8:col. , 1st ed. Edited by Hans Dieter Betz, Don S. Browning, Bernd Janowski, and Eberhard Jüngel. Tübingen: Mohr Siebeck, 2006.

    *‡ “Sequentiar.” In Die Religion in Geschichte und Gegenwart: Handwörterbuch für Theologie und Religionswissenschaft, revised 4th ed. Edited by Hans Dieter Betz, Don S. Browning, Bernd Janowski, and Eberhard Jüngel, vol. 7:col., Tübingen: Mohr Siebeck, 2005.

    *‡ “The Sequences of Notker of Saint Gall.” Compact Disc Liner Notes for Gregoranischer Choral aus St.Gallen, Die Singphoniker, Godehard Joppich, general music director. 1994. (SPR 52800.)

  • Cantus Planus: Papers Read at the 16th Meeting, Vienna, Austria, 2011, International Musicological Society Study Group. Edited by Robert Klugseder with members of the Cantus Planus advisory board: James Borders, Lori Kruckenberg, et al. Vienna: OAW Kommission für Musikforschung, 2012. [3851193369, 9783851193367] Copy editor of 10 articles for this international publication including 7 by non-native English speakers; the edited articles by James Borders (US), Cécile Davy-Rigaux (France), Joseph Dyer (US), Manuel Pedro Ferreira(Portugal), Carmen Julia Gutiérrez (Spain), Kate Helsen (Canada), Marit Høye (Norway), Gunilla Iversen (Sweden), Gábor Kiss (Hungary), Jan Koláček (Czech Republic), and Debra Lacoste (Canada).

  • *‡  Translation of Wulf Arlt, “The Office to Feast of the Circumcision from Le Puy.” In The Divine Office in the Middle Ages, edited by Rebecca Baltzer and Margot Fassler, 324–343. Cambridge: Cambridge University Press, 2000.

    *‡  Translation of Harmut Möller, “Saint Gall Office Compositions for the Local Saints Gallus and Otmar.” In The Divine Office in the Middle Ages, edited by Rebecca Baltzer and Margot Fassler. Cambridge: Cambridge University Press, 2000.

    *‡  Translation of Michael Klaper, “Kommentar.” In Hildegard von Bingen Lieder: Faksimile Riesencodex (Hs. 2) der Hessischen Landesbibliothek Wiesbaden fol. 466–481v. Lorenz Welker, general editor. Wiesbaden: Reichert Verlag, 1998.

  • * refereed abstract ‡ invited paper/submission † submitted abstract/paper

    Six accepted presentations/papers for symposia/conferences/colloquia from spring 2020 through 2021 were cancelled because of COVID-19. One paper was given remotely in shortened version in July 2021 and a second symposium paper was given as talk for colloquium series in December 2021(see below).

    *†/‡ “The Medingen Andachtsbücher: Chant Practice and Reform in Women’s Communities.” Originally scheduled for postponed conference in Bonn 9 December 2021; presented remotely as research colloquium Würzburg, 2 December 2021. University of Bonn, Bonn, Germany, presentation TBA 2022.

    *†  “New Sources for Proper Tropes: 11th to 16th Centuries.” International Musicological Society- Cantus Planus Study Group, Telč, Czech Republic. Originally scheduled for 2020; presented remotely 28 July 2021 as part of virtual ‘Research Forum’.

    *†  “Compositio in the hands of cantrices: Examples from Women Religious in Germany, 970–1120.” AGFEM Aktuelle Forschungsdiskurse und -projekte 10 Tagung. Klosterheiligkreuztal, Germany. 4–6 April 2019.

    ‡ “Regulating Song and Silence in Communities of Medieval Women Religious: The Evidence of Statutes and Related Sources.” Workshop „Ordnungsdiskurse in Frauenstiften: Statuten“. Sonderforschungsbereich 923: „Bedrohte Ordnungen“.Projekt G02: „Geistliche Frauen- gemeinschaften im 15. und 16. Jahrhundert: Ordnungsvorstellungen und Bedrohungs- kommunikation in Reform und Reformation“. Tübingen, Germany. 3–4 May 2018.

    *† “Tropes, Sequences and Singers in Medieval Libri ordinarii: The Treasure Trove of Ordinals for Musical Practice in the Middle Ages.” CANTUS Network-Tagung Graz 2017: Libri ordinarii der Kirchenprovinz Salzburg. Graz, Austria. 6–9 September 2017.

    ‡ “‘Unruled Secular Canonesses’ and Their Roles in Liturgy: Case Studies from the German-speaking Lands in the Age of Reforms.” Reformen geistlicher Frauengemeinschaften im Mittelalter. 3. Internationale AGFEM Tagung. Weingarten, Germany. 22–25 March 2017.

    *† “What Medieval Chronicles Teach us about Chant and Practice.” 17th Meeting of Cantus Planus – Study Group of the International Musicological Society. Dublin, Ireland. 2–6 August 2016.

    ‡ “Buchtypologie: Überlegungen zum Tropar und Sequentiar.” Co-authored paper with Prof. Andreas Haug. Zur Typologie liturgischer Bücher des westlichen Mittelalters: Neue Fragen an alte Quellen. Interdisciplinary Symposium. Regensburg. 7–9 July 2016.

    ‡† “Singing What Is Not Easily Said: Sounds and Songs in a Medieval Chronicle from the Abbey of St. Gallen.” 50th Anniversary Annual Meeting of The Medieval Association of the Pacific: A Global Middle Ages. University of California-Davis. Davis, CA. 31 March–2 April 2016.

    *‡ “Songscapes in the Paradiesgärtlein of the Upper Rhenish Master (1410/20).” Annual Meeting of the American Musicological Society. Louisville, KY. 12–15 November 2015.

    ‡The Medieval Cantrix in the Latin West: Toward a European Context for Codex Las Huelgas and the Nuns of Burgos.” Iberian Polyphony in the Middle Ages: New Sources, New Hypotheses. Schola Cantorum Basiliensis. Musik Akademie Basel. Basel, Switzerland. 8–9 May 2015

    ‡† “Zu den Propriumstropen in der liturgischen Musikpraxis des Kölner Raums.” Musik der Mittelalterlichen Metropole: Räume, Identitäten und Kontext der Musik in Köln und Mainz, ca. 900–1400. Internationale Tagung. Institut für Kunstgeschichte und Musikwissenschaft, Johannes Gutenberg-Universität Mainz. Hochschule für Musik und Tanz Köln, Kammermusiksaal. 15–18 October 2014.

    ‡  “Die musikalische Bedeutung von Metz.” Die Geschichte des Gregorianischen Gesangs und das Unbehagen an ihrer Erforschung. Würzburger Arbeitsgespräch. Julius-Maximilians-Universität Würzburg, Würzburg, Germany. 11–12 July 2014.

    ‡  “Singing History: Musical Detail in the Casus sancti Galli.” Cantor-Historian/Chronicler. Symposium of Notre Dame London Centre. London, UK. 20–23 October 2013.

    *†  “(Song)Book Culture and the German Cantrix in the Early and Central Middle Ages.” 48th International Congress on Medieval Studies. Kalamazoo, MI. 9–12 May 2013.

    *†  “Traditions of the Medieval German Cantrix as Defined by Place, Space and Community.” Session Resounding Spaces: Defining Communities and Geographies through Song. Annual Medieval Academy of America Meeting. Knoxville, TN. April 4–6, 2013.

    ‡  “Before Notker Became Notker.” Notkers Hand: Historische Musikpraxis zwischen Rezeptionsgeschichte und Anlasskultur.” Internationales Symposium der Schola Cantorum Basiliensis. Basel, Switzerland. 26–28 November 2012.

    ‡  “Collecting-Writing-Notating, Reading-Singing-Orating: Stories and Songs in a Medieval Chronicle.” Oral Traditions: Old and New” Symposium, Part I. University of Oregon, 29 September 2012 and Symposium, Part II. University of Oregon. Eugene, OR. 19–20 October 2012.

    * “The New Sequence, Nova Cantica and The Relationship to the Festal Offices.” Annual Meeting of the American Musicological Society. San Francisco, CA. 10–13 November 2011.

    †‡  “Musical Detail in Ekkehard IV’s Casus sancti Galli: An Overview.” 16th Meeting of Cantus Planus – Study Group of the International Musicological Society. Vienna, Austria. 21–27 August 2011.

    †‡  “Singing as Reading, Song as Text: The Narrative Role of Musical Detail in Ekkehard IV’s Casus sancti Galli.” Sewanee Medieval Colloquium: Voice, Gesture, Memory and Performance in Medieval Culture. The University of the South, Sewanee, TN. 8–9 April 2011.

    *†  “Sacred Music in the Middle Ages: Recycling vs. Creation.” 35th Annual Mid-America Medieval Association Conference. University of Missouri-Kansas City. Kansas City, MO. 25–26 February 2011.

    *†  “The Intersection of the Office and the New Sequence of ca. 1100: Evidence from Northeastern France and Flanders.” Conference Music for the Office and its Sources in the Low Countries (1050–1550). Antwerp, Belgium. 21–24 August 2010.

    ‡ “Hildegard and Medieval Traditions of the German Cantrix.” Medieval and Renaissance Music Conference. Bangor, Wales. 24–27 July 2008.

    ‡ “Transmission, Reception, Resistance and Adaptation of Sequentiae novae of ca. 1100.” Kulturtransfer. Perspektiven eines Forschungsansatzes. Erlangen. 21–23 June 2007.

    † “The Wisdom of Words, the Eloquence of Melody: Renewal of Chant Practices throughout the Middle Ages.” 42nd International Congress on Medieval Studies. Kalamazoo, MI. 10–13 May 2007.

    ‡“Liturgical Music for St. John with Special Emphasis on the Sequence.” Interdisciplinary Conference: “Leaves from Paradise: The Cult of John the Evangelist at the Dominican Nunnery of Paradies bei Soest.” Houghton Library, Harvard University. Cambridge, MA. 20 October 2006.

    † “Preserving the Old or Promoting the New: Arguments for and against Sequentiae novae.” 13th Meeting of Cantus Planus – Study Group of the International Musicological Society. Niederaltaich, Germany. 29 August–3 September 2006.

    † “Neumatizing the Sequence: Expressing the Inexpressible.” 41st International Congress on Medieval Studies. Kalamazoo, MI. 4–7 May 2006.

    *“The Meaning of Metz: The Role of Messine Chant in the Propagation of Cultural Identity.” Annual Meeting of the American Musicological Society. Washington, D.C. 27–30 October 2005.

    ‡ “Celeste organum and Stola iocunditatis.” Nidaros III: The Sequences of the Medieval Archdiocese Nidaros. Internationales Begegnungszentrum der Wissenschaft. Munich, Germany. 25–27 July 2005.

    ‡ “Zum ausbleibenden Transfer nach den Reichsteilungen: Symptome einer musikkulturellen Transferbarriere zwischen westfränkischem und ostfränkischem Raum.” Session: Das Konzept ‘Kulturtransfer’ als Interpretationsmodell musikhistorischer Prozesse. Internationaler Kongress der Gesellschaft für Musikforschung: Musik und kulturelle Identität. Universität Weimar. Weimar, Germany. 16–21 September 2004.

    † “Tenth-Century Monastic Reforms and Lotharingian Musical Influence: Recovering a Messine Trope Tradition.” 12th Meeting of Cantus Planus – Study Group of the International Musicological Society. Lillafüred, Hungary. 23–28 August 2004.

    † “Between Notker and Adam: Congaudentes exultemus and the Experimental Sequence of the Late Eleventh Century.” Session: New Perspectives on Liturgical Poetry. International Medieval Congress. University of Leeds. Leeds, UK. 12–15 July 2004.

    ‡ “Rhetoric, Versification and Musical Composition in the Late Eleventh Century: The Case of Celeste organum and Stola iocunditatis.” Nidaros II: The Sequences of the Medieval Archdiocese Nidaros. Yale University, New Haven, CT. 12–14 June 2004.

    † “Messine Chant and the Lotharingian Axis: The Tradition of Tropes from Metz.” Session III: Across the Carolingian Divide: Gregorian and Non-Gregorian Chant. 39th International Congress on Medieval Studies. Kalamazoo, MI. 6–9 May 2004.

    ‡ “A ‘Transitional’ Sequence in Aquileia and Italy: The Transmission of the Nicholas Sequence Congaudentes exultemus.” Seminar and Round-Table Discussions on Chant and Sequences in Aquileia. Sponsored by Fondazione Levi. Venice, Italy. 1–4 May 2002.

    ‡  Program Chair/Co-Organizer of Interdisciplinary Conference of “The Sequence in Medieval Nidaros I.” Senter for Middelalderstudier. Norges Teknisk-Naturvitenskapelige Universitet. Trondheim, Norway. 24–29 July 2001

    ‡  “Division of an Empire, Division of a Chant Tradition: The Sequence during and after the Age of Charlemagne.” Musik der Karolingerzeit. Internationales Symposion together with Am Vorabend der Kaiserkrönung: Das Epos ‘Karolus Magnus et Leo Papa’ und der Papstbesuch in Paderborn. Paderborn, Germany. 23–30 October 1999.

    *“Early Sequence Traditions and the Definition of Genre.” Annual Meeting of the American Musicological Society. Boston, MA. 29 October–1 November 1998.

    †  “The Reichenau Sequence Repertory in the East-Frankish Tradition and Ruodmann’s Rumors of Monks of Ill-Repute.” International Medieval Congress. University of Leeds. Leeds, UK. 13–16 July 1998.

    †  “Re-Visiting that ‘Least of the Monks of St.Gall’ and his ‘Worthless Little Book’: Liber ymnorum Notkeri.” 33rd International Congress on Medieval Studies. Kalamazoo, MI. 7–10 May 1998.

    †  “Defining a Genre in Light of East- and West-Frankish Sequences.” 32nd International Congress on Medieval Studies. Kalamazoo, MI. 8–11 May 1997.

    ‡ “Wilhelm klopft an St. Peters Tür: Sequenzen in Salzburg.” The Medieval Conference Geistliche Musik Salzburgs Im Mittelalter. Salzburg, Austria. 6–9 June 1996.

    *‘Pleasingly Resounding in the Church’: Sequences in Cambrai, Médiathèque Municipale, ms. 78.” American Musicological Society Chapter Meeting. Chicago, IL. 8–9 October 1994.

Future Projects

  • Monographs

    A New Kind of Song: The New Sequence, ca. 1075–ca. 1225 (book-length project)

  • Articles

    “Before Notker Became Notker.” [typescript=35 pages]

    “The Meaning of Metz: The Propagation of Messine Chant and Its Changing Role, 780–1325.” [article length study=24 pages]

    • Guest Professor: St. Galler Summer School: “Das mittelalterliche Kloster als musikgeschichtlicher Ort. Die mittelalterliche Handschrift als musikgeschichtliche Quelle.” St. Gallen (Switzerland). 7– 13 July 2017.

    • Guest Presentation: “the Chronology, Re-Mapping Dissemination of Proper Troping: Some Perspectives from the ‘Fundbüro’.” Forschungs-Seminar. Würzburg. Fall 2016.

    • Chaired session: “Saints in Song and Vitae: Exploring the Construction of Saints' Cults, 800-1400,” at the Medieval Academy of America conference at University of Notre Dame (South Bend, IN). 12–14 March 2015.

    • Guest Presentation: “Lost and Found: die Geschichte eines angeblichen zisterzienser-Missale, eines ‘gefundenen’ Tropars, eines Liber ordinarius und der Propriumstropen in der liturgischen

    • Musikpraxis des Kölner Raums.” Forschungs-Seminars Musikwissenschaft. Universität Würzburg, 26 February 2015.

    • Respondent to position paper: David Catalunya’s “The Role of Material Philology in the Process of Editing Aquitanian Versus.” 17th Meeting of Cantus Planus – Study Group of the International Musicological Society. Venice, Italy. 28 July–1 August 2014.

    • Roundtable: Panelist for “So You Think You Can Chant.” 48th International Congress on Medieval Studies. Kalamazoo, Michigan. 8–11 May 2014.

    • Session Chair: Pacific Northwest Chapter Meeting of AMS, Eugene, 5–6 April 2013.

    • Guest Presentation: “Gaudeamus letantes sorocule: Die Tradition der deutschen Cantrix im Frühmittelalter” (lecture held in German) Julius-Maximilians-Universität Würzburg, Würzburg, Germany, 22 November 2012.

    • Guest Seminar: Female Singers in Medieval Monasteries / Sängerinnen in mittelalterlichen Klöstern (taught 15-hour block seminar in English and German) Julius-Maximilians-Universität Würzburg, Würzburg, Germany, 22–24 November 2012.

    • Guest Presentation: “Attitudes and Anxieties concerning Singing Practices of Women Religious in the German-Speaking Realm, 1100–1350,” Julius-Maximilians-Universität Würzburg, Würzburg, Germany, 23 November, 2012.

    • Guest Lecture: “Gaudeamus letantes sorocule: Die Tradition der deutschen Cantrix im Frühmittelalter” (lecture held in German) Universität Weimar-Jena, Jena, Germany, 11 June 2012.

    • Guest Presentation “Singing as Reading, Song as Text: The Narrative Role of Musical Detail in Ekkehard IV’s Casus sancti Galli.” Emmanuel College, Cambridge University, 15 December 2011.

    • Festschrift Presentation for Richard Crocker, Excerpts from “Singing as Reading, Song as Text: The Narrative Role of Musical Detail in Ekkehard IV’s Casus sancti Galli.” Annual Meeting of the American Musicological Society. San Francisco, CA. 10–13 November 2011.

    • Guest Lecture “In the Shadow of Hildegard von Bingen: Searching for the Medieval German Cantrix." School of Music, University College Dublin, 27 October 2011.

    • Guest Lecture “Nova Cantica–Novae Sequentiae.” Vorlesung, Institut der Musikforschung, Universität Würzburg, 29 June 2010.

    • “Textlessness in Musical Repertories, 800–1300.” Symposium/Workshop at the Schola Cantorum Basiliensis/ Musik Akademie der Stadt Basel. 6–8 February 2009.

    • “Work-in-progress or a New Kind of Song (Part II): What the Writing (Schriftbild) and Writings Tell Us.”. University of Southhampton (UK), 9 December 2008.

    • “Work-in-progress or a New Kind of Song? (Part I): The Sequentia Nova, ca. 1075–1200.” All Souls College, Oxford University 4 December 2008.

    • “Gaudeamus letantes sororcule: Traditions of the Medieval German Cantrix.” Emmanuel College, Cambridge University, 3 December 2008.

    • One-day seminar on the sequence. Universität Erlangen-Nürnberg. 5 September 2006.

    • “A New Kind of Song: Congaudentes exultemus and the Sequence, ca. 1100.” Oregon Humanities Center Work-In-Progress Talk. 17 February 2006.

    • “Interpreting the Zone de transition: Traces of Messine Chant?” Musicology Colloquium at the University of Colorado. Boulder, Colorado. 13 September 2003.

    • “Songs without Words: Renewal and Atavism in Chant Performances of the High Middle 9 Ages.” University of Louisville. Louisville, Kentucky. 20 April 2002.

    • Presenter at Seminar/Workshop for “Medieval Music in the Netherlands.” University of Utrecht. Utrecht, The Netherlands. 22–26 October 2001.

    • Panelist at Roundtable Discussion for “Plainchant Studies in the Twenty-First Century.” Annual Meeting of the American Musicological Society. Toronto, Ontario. 2–5 November 2000.

    • Lecture on “Performing Sequences in the High Middle Ages: New Evidence from the Northern French Cathedrals of Cambrai, Amiens, and Laon.” Senter for Middelalderstudier. Norges Teknisk-Naturvitenskapelige Universitet. Trondheim, Norway. 7 June 2000.

    • Invited presentation at blockseminar on Libri ordinarii. The Medieval Institute, University of Notre Dame, South Bend, Indiana. 14–16 April 2000.

    • Panelist at Roundtable Discussion for Colloquium Amicorum Canti. University of Kentucky, Lexington, Kentucky. 18–19 February 2000.

    • Speaker for Seminar excursion. Einführung zu den liturgischen und musikalischen Handschriften und Incunabula des Mittelalters und der Renaissance. Württembergische Landesbibliothek, Stuttgart and Badische Landesbibliothek, Karlsruhe, Germany. 15–16 January 1999.

    • Panelist at Guest Seminar. “Chant at Reichenau.” Trinity College, Cambridge University, UK. 14 July 1998.

    • “Notkers Liber ymnorum und der Hirsauer Liber ordinarius: Liturgische Sequenz und monastische Reform im 11. und 12. Jahrhundert.” Kolloquium zu aktuellen Forschungthemen. Stäblein-Archiv, Erlangen-Nürnberg Universität. Erlangen, Germany. 13 June 1996.

    • “Fitting Praise or the Damnable Inprobity of Inventions? Rationale for and Reprimands against a New Type of Chant.” Arbeitsgemeinschaft, Institut für Musikwissenschaftliches Institut, Universität Basel. Basel, Switzerland. 18 August 1995.

Professional Service And Committees

  • Corpus Monodicum, Editorial Board, 2011–present.

  • International Musicological Society’s Cantus Planus, Board Member, appointment 2011– present.

  • American Musicological Society Noah Greenberg Award Committee, 2015–2018 (chair, 2018).

  • Acting Director of Medieval Studies Program, University of Oregon. 2015–2016, 2016–2017.

  • Plainsong and Medieval Music (journal, Cambridge University Press), Editorial Board, appointment 2008–2016.

  • Faculty Sponsor and Session Chair, Pacific Northwest Chapter Meeting of AMS, Eugene, 5–6 April 2013.

  • Organizer of Interdisciplinary Conference: The Sequence in Medieval Nidaros III (Nidaros III). Internationales Begegnungszentrum der Wissenschaft. Munich, Germany. 25–27 July 2005.

  • Co-organizer of Interdisciplinary Conference: The Sequence in Medieval Nidaros II (Nidaros II). 10

  • Institute of Sacred Music, Yale, New Haven, Connecticut. 12–14 June 2004.

  • Faculty Sponsor and Session Chair, Pacific Northwest Chapter Meeting of AMS, Eugene, 5–6 April 2002.

  • Co-organizer of Interdisciplinary Conference: The Sequence in Medieval Nidaros I (Nidaros I). Senter for Middelalderstudier. Norges Teknisk-Naturvitenskapelige Universitet. Trondheim, Norway. 24–29 July 2001.

  • Session organizer for “Music, Liturgy and Theology in Ottonian Reichenau.” International Medieval Congress. University of Leeds. Leeds, UK. 13–16 July 1998.

  • Memberships: The American Musicological Society; The International Musicological Society; Early Music America; Medieval Academy of America; Medieval Association of the Pacific.