William and Mary

Thomas  Payne

On Leave: Fall 2014-Spring 2015
Office: Ewell 264
Phone: (757) 221-1502
Email: [[tbpayn]]

  • B.A., Classics and Latin, Oberlin College
  • Ph.D., Musicology, University of Chicago

Tom Payne arrived at William and Mary in the Fall of 1999, after teaching for seven years at Columbia University. He held previous posts at the University of Chicago, where he served as a lecturer and a Visiting Assistant Professor. His primary research interests lie in medieval music, early notation, Latin poetry, liturgy, and medieval musical culture, with a particular emphasis on the music of the Parisian Notre Dame School of the late twelfth and early thirteenth centuries.

Payne's professional interests include: Medieval, Renaissance, and Baroque music; J.S. Bach; and modern musical minimalism, especially the compositions of Steve Reich; and the music of the Beatles.

In a more informal vein he is an acoustic guitarist who is fascinated by Anglo-American folk music, Bluegrass, folk-style acoustic guitarists (whose music he plays), and so-called "Classic Rock" from circa 1960-1975.

Courses Taught

Courses offered at William and Mary (as of the 2003 academic year):

  • Music 150W Freshman Seminar: The Music of the Beatles
  • Music 150W Bach and the Baroque
  • Music 213 History of Western Music
  • Music 345 Music Research Seminar: The Challenges of Early Music
  • Music 345 Music and Culture in Medieval Paris (1100-1300)
  • Music 365 Beatles Music
  • Music 365 Music of J. S. Bach
  • Music 365 Music in Medieval England
  • Music 381 Medieval and Renaissance Music
  • Music 383 Baroque and Classical Music
Selected Publications
  • (In preparation) “The Organa of Silos, Santo Domingo de Silos, Biblioteca de Monasterio, Fragmentos Musicales 27.”  In preparation for publication in Fragmenta libri organorum.  Le Magnus liber organi de Notre-Dame de Paris, no. 8. Les  Remparts, Monaco: Éditions de L'Oiseau-Lyre.
  • (In press) Philip the Chancellor (d. 1236): Motets and Prosulas.  To be published in the series Recent Researches in the Music of the Middle Ages and Early Renaissance.  Middleton, WI: A-R Editions.
  • “Walter of Châtillon.”  Die Musik in Geschichte und Gegenwart.  Personenteil, vol. 17.  Kassel: Bärenreiter-Verlag, 2007.  Cols. 428-430.
  • "Philip the Chancellor and the Conductus Prosula: 'Motetish' Works from the School of Notre Dame." In Music in Medieval Europe: Studies in Honour of Bryan Gillingham. Terence Bailey and Alma Santosuosso, eds. Aldershot, U.K and Burlington VT: Ashgate, 2007.  Pp.  220-238.
  • “Philippe le Chancelier.”  Die Musik in Geschichte und Gegenwart.  Personenteil, vol. 13. Kassel: Bärenreiter-Verlag, 2005.  Cols.  509-11.
  • “Datable Notre Dame Conductus: New Historical Observations on Style and Technique.”  Current Musicology.  64 (2001): 104-151.
  • Aurelianis civitas: Student Unrest in Medieval France and a Conductus by Philip the Chancellor.”  Speculum: A Journal of Medieval Studies, 75 (2000): 589-614.
  • Revised versions of the following articles for the New Grove Dictionary of Music and Musicians, 7th ed. [New Grove II].  Stanley Sadie and John Tyrrell, eds.  London: Macmillan (2000): “Anderson, Gordon A[thol],”  “Alain de Lille,” “Archipoeta,” “Carmina burana,” “Early Latin Secular Song,” “Goliards,” “Hugh Primas of Orléans,” “Notation, Western, to ca. 1260,” “Paris to ca. 1450,” “Peter of Blois,” “Philip the Chancellor,” “Serlo of Wilton, “ ”Song: Liturgical Song to the 9th Century,” “Song: Medieval Latin Song from the 9th Century,” “Sources, MS – Secular Monophony, Latin,” “Walter of Châtillon.”
  • Les Organa à Deux Voix du Manuscrit de Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 1099 Helmst. 2 vols. Le Magnus liber organi de Notre-Dame de Paris, no. 6. Les  Remparts, Monaco: Éditions de L'Oiseau-Lyre, 1996.  A 500-page scholarly edition of a medieval musical repertory of 50 two-voice organa (Gregorian chants with an added decorative vocal line) from the Notre Dame school.  The transcriptions include a critical commentary and a substantial introduction in both French and English.
  • Review Article: “Music and Ceremony at Notre Dame of Paris: 500-1550 by Craig Wright”, Cambridge Studies in Music (Cambridge: Cambridge University Press, 1989), Journal of Musicological Research, 12 (Supplement) (1992): 3S-17S.
  • “Associa tecum in patria: A Newly Identified Organum Trope by Philip the Chancellor,” Journal of the American Musicological Society, 39 (1986): 233-254.
  • “Musical Terminology in the Contrapuntal and Canonic Works of J.S. Bach,” Bach: The Quarterly Journal of the Riemenschneider Bach Institute, 17 (1986): 18-35.
Book Reviews
  • Guillaume Gross. Chanter en polyphonie à Notre-Dame de Paris aux 12e et 13e siècles. Studia Aristarum: Ètudes sur la Faculté des arts dans les Universités médiévales, 14 (Turnhout: Brepols, 2007). Plainsong and Medieval Music, 19 (2010): 213-217.
  • Jann Cosart, ed. Monophonic Tropes and Conductus of W1: The Tenth Fascicle. Recent Researches in the Music of the Middle Ages and Early Renaissance, 38 (Middleton, WI: A-R Editions, 2007). Notes: Quarterly Journal of the Music Library Association, vol. 65 (2009): 573-575.
  • Anna Maria Busse Berger, Medieval Music and the Art of Memory (Berkeley, Los Angeles, and London: University of California Press, 2005),  Speculum: A Journal of Medieval Studies. 82 (2007): 412-415.
  • Christopher Page, ed., The Summa Musicae: A Thirteenth-Century Manual for Singers, Cambridge Musical Texts and Monographs (Cambridge: Cambridge University Press, 1989), in Journal of Musicological Research, 14 (1995): 281-86.
  • Mark E. Everist, Polyphonic Music in Thirteenth-Century France: Aspects of Sources and Distribution, Outstanding Dissertations in Music From British Universities (New York and London: Garland Publishing, Inc., 1989), in Journal of Musicological Research, 14 (1995): 286-92.