My primary research examines how music and sound developed as a medium for disputing political, legal, and sacral authority in the French late medieval and early modern transition, focusing especially on interactions between the courtly and civic-religious, urban spheres as constitutive of the ancien régime political order. In terms of repertoire, this work spans the motet and Mass genres ca. 1490–1540, and centers the reigns and royal chapels of Anne of Brittany, Louis XII, and Francis I. Topics include ecclesiastical and political reform, state formation and juridic history, heresy, urban soundscape, civic ceremony, devotional practice, the social mobility of musicians and music, acoustical and listening environments, citation and intertextuality, and chronicles and historical narrative.

This work has been supported by a 2021–22 Fulbright Advanced Research fellowship (extended by a King Arthur Peters Award) and funding from the CRIM Project of Haverford College and the Centre d’Études Supérieures de la Renaissance in Tours, with additional studies at the Conservatoire de Paris. My DMA thesis (“‘Musica, cur siles?’ Sounding the Funeral of Anne of Brittany”) at The Juilliard School, advised by Thomas Forrest Kelly, received the Richard F. French Award for outstanding dissertation work.

Listen:

"Consolator captivorum”: A Saint-Louis motet restored (Cut Circle and Stanford’s CCRMA)

La musique autour des funérailles d'Anne de Bretagne (France Musique radio broadcast)

Read:

“Mathieu Gascongne, Christus vincit, et la politique de la cérémonie sacrée.” In Vie musicale et identité urbaine dans la France de la Renaissance (ca. 1500 – ca. 1650), edited by Alexander Robinson and Philippe Vendrix. Paris: Classiques Garnier, forthcoming.

Network, ritual, and strife in Claudin de Sermisy’s Missa plurium motettorum (CRIM Project, Haverford College/Centre d’Études Supérieures de la Renaissance)