Here’s a selection of my work that you can find ‘out there’ in the world of published research. Unfortunately, many of these websites currently require you to log on in order to read the full content, so you/your institution will need to have a subscription.
Do get in touch if you have any comments on my work, for ‘your thoughts are not my thoughts, nor are your ways my ways’ (Isaiah 55:8). I’m always curious to find out more and rethink my ideas!
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Edited volumes
Tristan E. Franklinos and Henry Hope, Revisiting the Codex Buranus: Contents, Contexts, Composition, Woodbridge 2020.
Ardis Butterfield, Henry Hope, and Pauline Souleau, Performing Medieval Text, Oxford 2017.
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Journal articles
‘Ein Kreuzlied? Walthers von der Vogelweide Palästinalied im Kontext der Überlieferung’, in: Musik in Bayern 84 (2019), pp. 9–31.
‘Collecting Songs in Sixteenth-Century Magdeburg: the Case of Valentin Voigt’, in: Creatio ex unisono: Einstimmige Musik im 15. und 16. Jahrhundert (= Trossinger Jahrbuch für Renaissance Musik, vol. 13), Münster 2017, pp. 175–212.
‘Zur Performanz von Frauenlobs Spruchmelodien: der Versuch eines Neuansatzes’, in: Jahrbuch der Oswald von Wolkenstein Gesellschaft 21 (2016/17), pp. 261–278.
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Book chapters
‘Compilation, Contrafacture, Composition: Revisiting the German Texts of the Codex Buranus’, in: Revisiting the Codex Buranus: Contents, Contexts, Composition, ed. by Tristan E. Franklinos and Henry Hope, Woodbridge 2020, pp. 351–392.
Tristan E. Franklinos and Henry Hope, ‘Introduction: The Codex Buranus – A Unique Challenge’, in: Revisiting the Codex Buranus: Contents, Contexts, Composition, ed. by Tristan E. Franklinos and Henry Hope, Woodbridge 2020, pp. 1–12.
‘Luther, Herder und die Musik als “zweite Theologie”’, in: Herder – Luther: das Erbe der Reformation in der Weimarer Klassik, ed. by Michael Maurer and Christopher Spehr, Tübingen 2019, pp. 173–186
‘The Sense of Line Endings: Some Analytical Observations on the Spruch Melodies of Herman Damen’, in: Schließen – Enden – Aufhören: Musikalische Schlussgestaltung als Problem in der Musikgeschichte, ed. by Sascha Wegner and Florian Kraemer, Munich 2019, pp. 251–283.
‘Performing Minnesang: Editing “Loybere risen”’, in: Performing Medieval Text, ed. by Ardis Butterfield, Henry Hope, and Pauline Souleau, Oxford 2017, pp. 152–175.
Henry Hope and Pauline Souleau, ‘Introduction: Performing Medieval Text’, in: Performing Medieval Text, ed. by Ardis Butterfield, Henry Hope, and Pauline Souleau, Oxford 2017, pp. 1–10.
‘Das Mainzer Hoffest von 1184 und die Historiographie deutsch-französischen Kulturaustauschs im Minnesang’, in: Musik der mittelalterlichen Metropole: Räume, Identitäten und Kontexte der Musik in Köln und Mainz, ca. 900–1400 (= Beiträge zur rheinischen Musikgeschichte, vol. 179), ed. by Fabian Kolb, Kassel 2016, pp. 353–367.
‘Friedrich Gennrich, die Straßburger Schule und ihre Fortsetzung in Frankfurt’, in: Wissenskulturen der Musikwissenschaft: Generationen – Netzwerke – Denkstrukturen (= Musik und Klangkultur, vol. 16), ed. by Sebastian Bolz, Moritz Kelber, Ina Knoth, and Anna Langenbruch, Bielefeld 2016, pp. 59–76.
‘Miniatures, Minnesänger, Music: the Codex Manesse’, in: Manuscripts and Medieval Song: Inscription, Performance, Context, ed. by Helen Deeming and Elizabeth Eva Leach,
Cambridge 2015, pp. 163–192.
I also translated the following article for the same volume:
Gundela Bobeth, ‘Wine, Women, and Song? Reconsidering the Carmina Burana’, in:
Manuscripts and Medieval Song: Inscription, Performance, Context, ed. by Helen Deeming and Elizabeth Eva Leach, Cambridge 2015, pp. 79–115.
‘Herders Musikästhetik im Zeichen von Hammer und Sichel: eine Untersuchung der musikästhetischen Herder-Rezeption in der DDR’, in: Herder und seine Wirkung: Beiträge zur Konferenz der Internationalen Herder-Gesellschaft Jena 2008, ed. by Michael Maurer, Heidelberg 2014, pp. 325–332.
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Reviews
Nicolas Mittler, Virtualität im Minnesang um 1200: transdisziplinäre Analysen, Frankfurt a. M. 2017, in: Music & Letters 98 (2017), pp. 465–468.
Jennifer Bain, Hildegard of Bingen and Musical Reception: the Modern Revival of a Medieval Composer, Cambridge 2015, in: Plainsong and Medieval Music 26 (2017), pp. 71–74.
Annette Ziegenmeyer, Yvette Guilbert: Pionierin einer musikalischen Mediävistik zum Hören, Cologne 2013, in: Die Musikforschung 69 (2016), pp. 58–60.
Sam Barrett, The Melodic Tradition of Boethius’ De consolatione philosophiae in the Middle Ages, Kassel 2013, in: Die Musikforschung 69 (2016), pp. 57–58.
Gundela Bobeth, Antike Verse in mittelalterlicher Vertonung:
Neumierungen in Vergil-, Statius-, Lucan- und Terenz-Handschriften, Kassel 2013, in:
Die Musikforschung 68 (2015), pp. 183–184.
Marisa Galvez, Songbook: How Lyrics Became Poetry in Medieval Europe,
Chicago 2012, in: Early Music 42 (2014), pp. 631–633.
www.vifamusik.de, in: Music Theory Online 20.3 (2014).
Mark Everist (ed.), The Cambridge Companion to Medieval Music,
Cambridge 2011, in: Music & Letters 94 (2013), pp. 672–674.
Judith A. Peraino, Giving Voice to Love: Song and Self-Expression
from the Troubadours to Guillaume de Machaut, Oxford 2011, in:
Music & Letters 94 (2013), pp. 334–337.
CD review, ‘The Sound of Medieval Song in the 21st Century’, in:
Early Music 41 (2013), pp. 165–168.
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Other
I’ve also been interviewed as the ‘musicological expert’ for a feature
on the Winchester Troper by BR Klassik (German radio station) .
You can also read many of my translations in the liner notes
for Rondeau Production‘s multi-faceted range of CD recordings.
Musicology in the Making 