Other Publications by Karen Desmond

Peer-reviewed Journal Articles

‘”One is the loneliest number . . .”: The Semibreve Stands Alone.” Early Music 46 (August 2018) (Copyright Oxford University Press and available through this free-access link provided by the publisher).

‘Did Vitry Write an Ars vetus et nova?’ Journal of Musicology 32/4 (2015), 441-493. Copyright University of California Press, and available with the kind permission of the publisher.

 

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‘Refusal, the Look of Love and the Beastly Woman of Machaut’s Balades 27 and 38’. Early Music History 32 (2013), pp.71- 118Copyright Cambridge University Press, and available with the kind permission of the publisher.

 

Screen Shot 2016-02-21 at 20.52.04‘Texts in Play: The Ars nova and its Hypertexts’. Musica disciplina 57 (2013), pp. 83-115.  Available through JSTOR.

 

 

PMM‘New Light on Jacobus, Author of Speculum musicae‘. Plainsong and Medieval Music 9 (2000), pp. 19-40. Copyright Cambridge University Press, and available with the kind permission of the publisher.

 

JMSicut in grammatica: Analogical Discourse in Chapter 15 of Guido’s Micrologus‘, Journal of Musicology 16 (1998), pp. 467-493. Copyright University of California Press, and available with the kind permission of the publisher. 

 

Peer-reviewed Book Chapters

  1. “Notations,” in A Companion to Medieval Motets, 103-130, ed. Jared Hartt (Woodbridge: The Boydell Press, 2018).
  2. (with Catherine Bradley) “Introduction,” in The Montpellier Codex: The Final Fascicle. Contents, Contexts, Chronologies, 1-12, edited by Catherine A. Bradley and Karen Desmond (Woodbridge: The Boydell Press, 2018).
  3. “Texture, Rhythm, and Stylistic Groupings in Montpellier 8 Motets,” in The Montpellier Codex: The Final Fascicle, 139-160, edited by Catherine A. Bradley and Karen Desmond (Woodbridge: The Boydell Press, 2018).
  4. “Zur „englischen“ Prägung des Tonale secundum usum ecclesiarum Anglie et Francie des Amerus ” in ,Nationes’-Begriffe im mittelalterlichen Musikschrifttum: Politische und regionale Gemeinschaftsnamen in musikbezogenen Quellen, 800-1400, 77-89, edited by Frank Hentschel (Berlin: de Gruyter, 2016).
  5. “Regionalspezifische Aspekte von Rhythmus und Notation nach Anonymus IV: Angli” in ,Nationes’-Begriffe im mittelalterlichen Musikschrifttum: Politische und regionale Gemeinschaftsnamen in musikbezogenen Quellen, 800-1400, 117-137, ed. Hentschel (Berlin: de Gruyter, 2016).
  6. “Katzenmusik in der Kirche: Elias Salomo über den Verfall der geistlichen Musik” in ,Nationes’-Begriffe im mittelalterlichen Musikschrifttum: Politische und regionale Gemeinschaftsnamen in musikbezogenen Quellen, 800-1400, 197-204, ed. Hentschel (Berlin: de Gruyter, 2016).
  7. “„Brittani“ in Ps.-Adalbolds Epistola cum tractatu de musica instrumentali humanaque ac mundane” in ,Nationes’-Begriffe im mittelalterlichen Musikschrifttum: Politische und regionale Gemeinschaftsnamen in musikbezogenen Quellen, 800-1400, 239-47, ed. Hentschel (Berlin: de Gruyter, 2016).

Book Reviews

  1. Review of Music and Culture in the Middle Ages and Beyond: Liturgy, Sources, Symbolism, ed. Benjamin Brand and David J. Rothenberg (Cambridge University Press, Cambridge and New York, 2016) in Music & Letters 99 (2018), 278-81. Link to journal.
  2. Review of The Monstrous New Art: Divided Forms in the Late Medieval Motet by Anna Zayaruznaya (Cambridge: Cambridge University Press, 2015) in Early Music, 44 (2016), 333-4. Copyright Cambridge University Press, and available with kind permission of the publisher. Link to PDF.
  3. Review of Yolanda Plumley, The Art of Grafted Song: Citation and Allusion in the Age of Machaut (Oxford University Press, 2013) in Plainsong and Medieval Music, 24 (2015), pp. 99-103. Copyright Cambridge University Press, and available with kind permission of the publisher. Link to PDF.
  4. Review of Catherine Saucier, A Paradise of Priests: Singing the Civic and Episcopal Hagiography of Medieval Liège (University of Rochester Press, 2014) in Early Music, 43 (April 2015), 320-322. Copyright Oxford University Press, and available with kind permission of the publisher. Link to Full Text or PDF.
  5. Review of Jennifer Saltzstein, The Refrain and the Rise of the Vernacular in Medieval French Poetry (Boydell & Brewer, 2013) in Speculum, 89 (July 2014), pp. 824-826. Copyright Cambridge University Press, and available with kind permission of the publisher. Link to PDF.
  6. Review of Emma Dillon, The Sense of Sound: Musical Meaning in France, 1260-1330 (Oxford University Press, 2012) in The Medieval Review (January, 2013). https://scholarworks.iu.edu/dspace/bitstream/handle/2022/15235/13.01.04.html
  7. Review of Florentius de Faxolis: Book on Music, ed. and trans. Bonnie J. Blackburn and Leofranc Holford-Strevens (Harvard University Press, 2011) in Early Music, 40 (November 2012). Copyright Oxford University Press, and available with the kind permission of the publisher. Link to Full text or PDF.
  8. Review of Ars musica septentrionalis: De l’interprétation du patrimoine musical à l’historiographie, ed. Barbara Haggh and Frédéric Billiet (Presses de l’université Paris-Sorbonne, 2011) in Notes, (Journal of The Music Library Association) 68 (2012), pp. 811-814. Please contact me if you would like a copy of this review as accepted for publication.