With Alexander Ivashkin: editor of Contemplating Shostakovich: Life, Music and Film (Ashgate, 2012).
Editor of Sacred and Liturgical Music: volume in series of republished essays on Renaissance Music, Stanley Boorman, general editor (Ashgate, 2012).
The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival
(Cambridge: Cambridge University Press, 2010).
With Dennis Slavin: editor of and contributor to Binchois Studies (Oxford: Oxford University Press, 2000).
The Three-voice Mass in the Later Fifteenth and Early Sixteenth Centuries: Style, Distribution and Case Studies (New York and London: Garland, 1995).
Book on Music and Musical Life at the Collegiate Church of Saint Omer, Northern France in the later Middle Ages.
Edition in progress
Volume 7 in the series Fifteenth Century Liturgical Music of Early English Church Music (to be published by Stainer and Bell).
“Organs and Instrumental Performance at the Collegiate Church of St Omer, Northern France, in the Later Middle Ages”, in Stewart Carter and Timothy J. McGee (eds.), Instruments, Ensembles, and Repertory,1300-1600: Essays in Honor of Keith Polk (Turnhout: Brepols, in press).
“Johannes Sohier dit Fede and St. Omer: A Story of Pragmatic Sanctions”, in Fabrice Fitch and Jacobijn Kiel (eds.), Essays on Music and Musicians in Honour of David Fallows: Bon jour, bon an, et bonne estraine (Woodbridge: Boydell and Brewer, 2011).
“La vie musicale à St Omer”, in Philippe Vendrix, Marie Alexis Colin and Camilla Cavicchi (eds.), Renaissances musicales en Picardie 14e-17e (Turnhout: Brepols, 2012).
“‘L’expression fidèle et spontanée du génie français’: Paris, Gevaert, Nationalism and Monophonic Song”, Revue Belge de Musicologie 64 (2010).
“Negotiating Form and Content in Fifteenth-century Music: a View through some Mass Movements by Binchois”, in Karl Kügle and Lorenz Welker (eds.), Borderline Areas in 14th and 15th Century Music/ Grenzbereiche in der Musik des 14. und 15. Jahrhunderts, Musicological Studies and Documents 55 (Neuhausen-Stuttgart: American Institute of Musicology, Hänssler-Verlag, 2009).
“The Seeds of Medieval Music: Choirboys and Musical Training in a Late-Medieval Maîtrise”, in Susan Boynton and Eric Rice (eds.), Young Singers of Sacred Music in Medieval and Early Modern Europe (Woodbridge: Boydell and Brewer, 2008).
“Personal Endowment: the Economic Engine of the ‘Cyclic’ Mass?”, in Bruno Bouckaert, ed. Yearbook of the Alamire Foundation 7 (2008).
“The Invention of the Cyclic Mass”, Journal of the American Musicological Society, 54/1 (Spring, 2001).
“From Humanism to Enlightenment: Reinventing Josquin”, The Journal of Musicology, 17/4 (Fall, 1999; appeared September, 2001).
“‘Under such Heavy Chains’: the Discovery and Evaluation of Late Medieval Music before Ambros”, Nineteenth Century Music 24/1 (Summer, 2000).
“La musique à la collégiale à la fin du moyen âge” in Nicolette Delanne-Logié and
Yves-Marie Hilaire (eds.), La cathédrale de Saint-Omer: 800 ans de mémoire vive (Paris: Centre Nationale de Research Scientifique, 2000).
“Binchois the Borrower”, in Kirkman and Slavin (eds.), Binchois Studies (Oxford: Oxford University Press, 2000).
“Musical Life at the Collegiate Church of Saint-Omer, Northern France, in the Fifteenth Century”, Humanas (Revista do Instituto de Filosofia e Ciências Humanas da Universidade do Rio Grande do Sul), 21/1, pt. 2 (1998; appeared 2000). (Proceedings of the II Encontro Internacional de Estudos Medievais, Porto Alegre, Brazil, 23-6 September, 1997).
“Quinti toni in Context: Currents in Three-voice Mass Writing in the later Fifteenth Century”, in Philippe Vendrix (ed.), Johannes Ockeghem: Actes du Xle Colloque international d’études humanistes (Paris: Klincksieck, 1999).
With Philip Weller: “Binchois’s Texts”, Music and Letters 77/4 (November, 1996).
“Innovation, Stylistic Patterns and the Writing of History: The Case of Bedyngham’s Mass Deuil angouisseux”, in Peter Wright (ed.), I Codici Musicali Trentini: Nuove scoperte e nuovi orientamenti della ricerca (Trento: Provincia autonoma di Trento, 1996).
“The Transmission and Style of English Mass Cycles in the Mid to Late Fifteenth Century: A Case Study in Context”, Music and Letters 75/2 (May, 1994).
“The Style of Walter Frye and an Anonymous Mass in Brussels, MS 5557”, Early Music History 11 (1992).
“Some Early Fauxbourdons by Dufay and his Contemporaries: A Study in Liturgically-motivated Musical Style”, Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 40/1 (1990).
Various essays on Music and Musical Life at the Collegiate Church of Saint-Omer in the fifteenth and early sixteenth century.
Ian Rumbold with Peter Wright, Hermann Pötzlinger’s Music Book: The St Emmeram Codex and its Contexts (Woodbridge, Suffolk: Boydell and Brewer, 2009), Speculum: A Journal of Medieval Studies, forthcoming.
Elaine Moohan and Murray Steib (eds.), Johannes Martini: Masses (2 vols., Madison: A-R editions, 1999), Notes 60/3, March, 2004.
Jessie Ann Owens, Composers at Work: The Craft of Musical Composition, 1450-1600 (Oxford, 1997), Journal of the American Musicological Society 55/ 1, Spring, 2002.
James Grier, The Critical Editing of Music: History, Method and Practice (Cambridge, 1996), Notes 57/ 3, March, 2001.
Fabrice Fitch, Johannes Ockeghem: Masses and Models (Paris, 1997), Early Music, February, 1999.
Gareth Curtis (ed.), The Office Hymns of Guillaume Dufay (Plainsong and Medieval Music Society), Early Music,May, 1993.
Nick Sandon (ed.), The Bodleian Year-Books Mass and Andrew Wathey (ed.), Berkeley Castle, Select Roll 55 (Antico), Early Music,August, 1992.
Gareth Curtis (ed.), The Brussels Masses, (Early English Church Music 34), and Nick Sandon (ed.), editions of Masses by Cox and Plummer (Antico), Plainsong and Medieval Music I, 1992.
Willem Elders: Composers of the Low Countries (Oxford: OUP, 1991) Early Music, August, 1991.
Maria Rika Maniates (ed.): The Combinative Chanson: An Anthology (Madison: A-R Editions, 1990), Early Music, August, 1990.
Recording reviews in Early Music, Early Music News.
Dictionaries/ reference works
Various articles in Anna Maria Busse Berger and Jesse Rodin (eds.) The Cambridge Companion to Fifteenth-Century Music, Cambridge University Press, forthcoming.
Articles written or revised for the New Grove Dictionary of Music and Musicians, 2nd Edition (London: Macmillan, 2001): “Caput”, “Mass, II, 6-9”, “Missa Brevis”, “Missa Dominicalis”, “Maundy Music”.
Article for the “New Dictionary of National Biography” (U.K.): “Frye, Walter”.
Article for the “New Catholic Encyclopedia”: Gilles de Binche, dit Binchois.
“‘L’expression fidèle et spontanée du génie français’: Paris, Gevaert, Nationalism and the chanson rustique”, International Congress François-Auguste Gevaert, Bibliothèque Royale de Belgique, December 13, 2008.
“The Profane Made Sacred: Outside Texts and Music in the Mass”, Southampton University, October 14, 2008; King’s College, London, October 15, 2008; Bangor University, October 16, 2008; All Souls, Oxford Seminar Series, October 23, 2008; York University, October 29, 2008.
“Head of the Church that is His Body’: Christological Imagery and the Caput Masses”, Faculty of Music, Oxford University, October 21, 2008.
“A Cloistered Art: Music Connoisseurship and Private Music-making in a Late Medieval Religious Foundation”, Ars musica septentrionalis, international conference in Cambrai and Douai, France, November 24, 2005.
“Whose Head? New Light on the ‘Caput’ Masses”, Annual Congress of the American Musicological Society, Washington, DC, October 29, 2005.
“Secular Music in the Mass”, Eastman School of Music, March 18, 2004; Ohio State University, May 17, 2004; University of North Carolina, Chapel Hill, January 28, 2005, Medieval Club of New York, February 3, 2006.
“L’homme armé: a New Hypothesis”, Twenty-sixth Conference on Medieval and Renaissance Music, prima edizione italiana, Spoleto, Italy, July 26, 2001; Seventeenth Congress of the International Musicological Society, Leuven/ Louvain, Belgium, August 5, 2002; ‘Music in the Renaissance: A Round Table’, Lisbon – Évora, Portugal, May 27, 2003; ‘Early Music: Context and Ideas: International Conference in Musicology’, Cracow, Poland, September 21, 2003; Annual Meeting of the American Musicological Society, Houston, Texas, November 15, 2003; Princeton University, December 2, 2003; Durham University, January 21, 2004; Renaissance Society of America Annual Congress, New York, April 2, 2004.
“Aspects of Music at the Collegiate Church of Saint-Omer in the Later Middle Ages”, ‘La musique et les villes à la Renaissance’, Centre d’Études Supérieures de la Renaissance, Tours, March 20, 2000; International Symposium on Late Medieval and Early Renaissance Music at Kloster Neustift/ Novacella, Italy, July 29, 2000.
“From Humanism to Enlightenment: Reinventing Josquin”, ‘New Directions in Josquin Scholarship’, conference at Princeton University, October 31, 1999.
“Personal Endowment: the Economic Engine of the ‘Cyclic’ Mass?”, ‘Business Unusual: Making Music and Money in Early Modern Europe’, a symposium at New York University, March 27, 1999.
“A Cloistered Art: Music Connoisseurship and Private Music-making in a Late Medieval Religious Foundation”, Twenty-fourth Conference on Medieval and Renaissance Music, University of York, July, 1998.
“Hegel, Brendel, Ambros and the Mass: towards the Renaissance ‘Masterwork’”, ‘Table Ronde: La Renaissance au XIXe siècle’, Centre d’Études Supérieures de la Renaissance, Tours, June 18-20, 1998.
Director of “The Binchois Consort”, a professional vocal ensemble. All recordings with Hyperion Records.
CD 1: “Glorious Companion: Music for St Anthony of Padua by Guillaume Dufay”, released July, 1996: ‘Critics’ Choice’, Gramophone.
CD 2: “Music for St James the Greater and other early Works by Guillaume Dufay”, released May, 1998: ‘Early Music Recording of the Year’ for 1998-9, Gramophone; ‘Recording of the Month’, Gramophone, July, 1998; Gramophone ‘Critics’ Choice’; ‘Classic CD Choice’, Classic CD, July, 1998; ‘Early Music Disc of the Month’, Classic FM Magazine, August, 1998; ‘Diapason d’Or’, Diapason, September 1998; ‘R10,’ Répertoire, September, 1998.
CD 3: “A Marriage of England and Burgundy”, music by Walter Frye and Antoine Busnois, recorded August 11-13, 1999, released October, 2000: ‘Recommandé,’ Répertoire, February, 2001; ‘Choc,’ Le Monde de la Musique, March, 2001.
CD 4: “Josquin and His Contemporaries”, recorded January 9-11, 2000, released September, 2001: runner-up, ‘Early Music Recording of the Year’ for 2001-2, Gramophone.
CD 5: Busnoys, Missa L’homme armé, Domarto, Missa Spiritus almus and motets, recorded June 19-21, 2001, released October, 2002: ‘Editor’s Choice,’ Gramophone, December, 2002; ‘G5’, Goldberg; ‘5 stars’ BBC Music Magazine; finalist, ‘Early Music Recording of the Year’ for 2002-3, Gramophone.
CD 6: Dufay (?), Missa Puisque je vis and motets by Dufay, Compère and anon., recorded July 24-6, 2002, released June, 2003: ‘5 stars’, BBC Music Magazine, September, 2003; ‘Diapason découverte’, Diapason, September, 2003
CD 7: Dufay (?), Mass for St Anthony Abbot, Binchois, Nove cantum melodie, Domitor Hectoris, Mass movements, recorded January 13-15, 2004, released January, 2005, finalist, ‘Early Music Recording of the Year, Gramophone.
CD 8: “Dufay and the Court of Savoy”, recorded February 13-16, 2008, released December, 2008.
CD 9: “Music for Henry V and the House of Lancaster”, recorded May 11-13, 2010, released September, 2011.
Future plans include recordings of music by Obrecht, Agricola and others.