Research and Publication

Historical Performance and Arts Practice Research
Improvisation and inventio in the Performance of Medieval Music  (Oxford, 2017)
Recent presentations, conferences, papers, etc.
Current projects in-process

Improvisation and inventio in the Performance of Medieval Music (Oxford, 2017)
Improvisation and Inventio Book
Oxford Reception 2017In 2017, Oxford University Press published my book Improvisation and Inventio in the Performance of Medieval Music, an innovative approach to medieval music as living repertoire, providing philosophical frameworks, primary-source analysis, and clear, actionable practices and exercises aimed at recovering the improvisatory and inventive aspects of medieval music for contemporary musicians.
Recipient, Texas Tech’s First Place President’s Faculty Book Award, 2019.

Historical Performance and Arts Practice Research
In the arts, both performing and otherwise . . . “arts practice research” entails creating the art object or experience, and then reporting, in a critical and analytical fashion, upon the processes and considerations that went into that creation.”
Angie with harp 2000-ish
For the past thirty years, I have been a practitioner in the field of Arts Practice Research known as “historical performance.” Historical performance is not limited to medieval, Renaissance, and Baroque repertoires, but can be more accurately described as an investigation into historical practices of making art. Every performance is preceded by extensive research into historical instruments, early notation, unwritten improvisatory and ornamental practices, and the historical context of that particular repertoire. Its practitioners, then, are “scholar-performers” for whom historical performance is enacted research, in which the fruit of research is reified in the process of creating and executing a performance rather than in an object such as a monograph or other publication.
The art and scholarship of historical performance, and the intellectual and expressive rewards of rediscovering how artists in other eras perceived and responded to their world, occurs precisely at the intersection of ‘creativity’ and ‘scholarship’ which Arts Practice Research makes possible.

Recent presentations, conferences, papers, etc.
Maynooth Presentation 2018.3Interactive Workshop, 2018 (July). “Medieval Music Pedagogy and Vernacular Music Processes.”2018 Medieval and Renaissance Music Conference, Maynooth University, Maynooth, County Kildare, Republic of Ireland
BLEMF Entrepreneurship Session 2018Panel Member, 2018 (May). Early Music Entrepreneurship Session. Co-presented by the Bloomington Early Music Festival and the Indiana University Jacobs School of Music’s Office of Entrepreneurship and Career Development.
Session Chair, 2018 (May)Chaired morning “Historical Performance I” session of the third annual international early music conference Historical Performance: Theory, Practice, and Interdisciplinarity, held at the Indiana University Jacobs School of Music.

Plenary Address, 2018 (May).”Medieval performance practice: Prioritizing Product or Process?” Opening plenary address for first day of sessions of the third annual international early music conference Historical Performance: Theory, Practice, and Interdisciplinarity, held at the Indiana University Jacobs School of Music.

Conference Presentation, 2018. (April): A Contemporary Pedagogy of Ancient Music: The“Vernacular Medieval” and the Twenty-First-Century Conservatory,” for “Musicking 2018: Cultural Considerations,” an annual historical performance practice conference held at the University of Oregon.

Conference Presentation, 2016. “Contemplative Learning in the Bible Belt: Case Studies from Texas Tech University,” for Transforming higher Education: Fostering Contemplative Inquiry, Community, and Social Action, the 2016 national conference of the Association for Contemplative Mind in Higher Education, University of Massachusetts, Amherst, MA.

Conference Paper, 2016. “A Contemporary Pedagogy of “Ancient” Music: the ‘Vernacular Medieval’ and the Twenty-First-Century Conservatory, for the international conference Historical Performance: Theory, Practice, and Interdisciplinarity, held at the Indiana University Jacobs School of Music.


Current projects in progress
  • An invited proposal for an Oxford “Keynote” series monograph on Hildegard von Bingen’s Ordo Virtutum
  • Several blogposts for submission for Oxford’s OUPBlog
  • The planning of an editorial collaboration with singer Vlad Smishkewych (Sequentia, Theatre of Voices, RTÉ Lyric fm host) tentatively entitled “Medieval Song in Modern Performance,” featuring a collection of essays by prominent medieval music performers and scholars
  • Researching ongoing projects for the Texas Tech Collegium Musicum