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Thomas Payne

Professor (Musicology); David N. and Margaret C. Bottoms Professor of Music

Office: Music Arts Center, room 210
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 musical notation, Latin lyric 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, acoustic finger-style 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 2014 academic year):

  • Music 100: Musical Revolutions
  • Music 150W Freshman Seminar: The Music of J.S. Bach
  • Music 213 History of Western Music
  • Music 224 Bach and the Baroque
  • Music 345 Music Research Seminar: The Challenges of Early Music
  • Music 345 Music and Culture in Medieval Paris (1100-1300)
  • Music 365 Music of J. S. Bach
  • Music 379 The Music of the Beatles
  • Music 381 Medieval and Renaissance Music
  • Music 383 Baroque and Classical Music
Selected Publications
  • Philip the Chancellor: Motets and Prosulas. Recent Researches in the Music of the Middle Ages and Early Renaissance, no. 41. Middleton, WI: A-R Editions, 2011. A scholarly edition of thirty-eight songs and motets from the thirteenth century, with translations of all texts, a substantial introduction (26 pp.), and extensive commentary (xlii+221 pp.).
  • 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. 
    • One of the items in the above publication, the organum Gaude Maria-Gabrielem archangelum (no. 3, pp. 12-19), was performed by the Hilliard Ensemble as part of the multimedia DVD and CD package The Kiss of a Divine Nature: The Contemporary Perotin. Halle: Arthaus Musik, 2006. Catalogue no. 100-695. 
Refereed publications in journals, periodicals, chapters in books, entries in dictionaries and encyclopedias (see also "Published Internet Materials," below)
  • (in preparation) "Insider Trading: Syllabic and Melismatic Indentity in the Notre Dame Conductus." 
  •  “Chancellor versus Bishop: the Conflict Between Philip the Chancellor and Guillaume d’Auvergne in Poetry and Music.” Philippe le Chancelier: prédicateur, théologien, et poète parisien du début du XIIIe siècle. Gilbert Dahan, Anne-Zoé Rillon-Marne, eds., 265-306. Bibliothèque d’histoire culturelle du Moyen Âge 19. Turnhout: Brepols, 2017.
  • “Latin Song II: The Music and Texts of the Conductus.” The Cambridge History of Medieval Music. 2 vols:Mark E. Everist and Thomas Forrest Kelly, eds. 2: 1048-1078. Cambridge: Cambridge University Press, 2018.
  • "Feature: Philip the Chancellor: Motets and Prosulas, edited by Thomas B. Payne." Embellishments: A Newsletter about Recent Researches, Published by A-R Editions, Inc., 46 (Spring 2012): 1-2. A short, self-written promotional feature on my 2011 edition in the publisher's thrice-yearly newsletter (see under Books).
  • Reprint of Aurelianis civitas: Student Unrest in Medieval France and a Conductus by Philip the Chancellor" in Music in Medieval Europe: Ars Antiqua: Organum, Conductus, Motet. Edward H. Roesner, ed. Burlington, VT, and Farnham, Surrey, UK: Ashgate Publishing, 2009. Pp. 589-614 (each contribution separately paginated with their original page numbers)
  • "Walter von 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." 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. 
  • 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, 2001:
    • As sole author:
      • "Carmina burana," vol. 5, pp. 157-158.
      • "Peter of Blois," vol. 19, p. 489.
      • "Philip the Chancellor," vol. 19. pp. 595-597.
    • As collaborator:
      • (with Gordon A. Anderson) "Alain de Lille," vol. 1, p. 271.
      • (with Werner Galluser) "Anderson, Gordon A[thol]," vol. 1, pp. 611-612. 
      • (with Gordon A. Anderson) "Archipoeta," vol. 1, p. 857. 
      • (with Gordon A. Anderson) "Early Latin Secular Songer, §3: The 'Goliard' Period up to c 1300" vol. 7, pp. 828-830.
      • (with Gordon A. Anderson) "Goliards," vol. 10, p. 112. 
      • (with Gordon A. Anderson) "Hugh Primas of Orléans," vol. 11, p. 809.
      • (with David Hiley) "Notation, [Western], §III, 2: Polyphony and secular monophony to c 1260," vol. 18, p. 119-129 (credits on p. 189). 
      • (with Gordon A. Anderson) "Paris, §I, 1-4: to 1450," vol. 19, pp. 76-79 (credits on p. 125). 
      • (with Gordon A. Anderson) "Serlo of Wilton," vol. 23, pp. 126-127. 
      • (with Geoffery Chew) "Song, §3: Liturgical Song to the 9th Century," 4: "Medieval Latin Song from the 9th Century," vol. 23, pp. 706-707 (credits on p. 716).
      • (with David Fallows) "Sources, MS, §III, 2: Secular monophony: Latin," vol. 23, pp. 847-848 (credits on p. 930).
      • (with Robert Falck) "Walter of Châtillon," vol. 27, pp. 57-58. 
  • Aurelianis civitas: Student Unrest in Medieval France and a Conductus by Philip the Chancellor." Speculum: A Journal of Medieval Studies, 75 (2000): 589-614.
  • 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.
Peer-Reviewed Published Internet Materials
  • Updated and revised versions (published to the web July 1, 2014) of the following New Grove Dictionary articles for the Grove Music Online service offered by Oxford Music Online.
    • (with David Hiley) "Notation, [Western], §III, 2: Polyphony and secular monophony to c 1260."
    • "Peter of Blois."
    • "Philip the Chancellor."
    • "Walter of Châtillon."
  • "Organum." in Oxford Bibliographies Online. (published to the web April 2013).
Book Reviews

  • Review of The Montpellier Codex: The Final Fascicle: Contents, Contexts, Chronologies. Catherine A. Bradley, Karen Desmond, eds.  Studies in Medieval and Renaissance Music, 16. Woodbridge, Suffolk; Rochester, New York: Boydell and Brewer, 2018.  Forthcoming in Plainsong and Medieval Music.
  • Review of Christian Meyer, ed., and Karen Desmond, trans., The 'Ars musica' Attributed to Magister Lambertus/ Aristoteles, Royal Musical Association Monographs 27, Farnham, Surrey, UK, and Burlington, VT: Ashgate for the Royal Musical Association, 2015. ISBN: 978-1-4724-3983-3.  In Speculum: A Journal of Medieval Studies, 93 (2018): 547-549.
  • Review of Anne-Zoé Rillon-Marne. Homo considera: La pastorale lyrique de Philippe le Chancelier, une étude des conduits monodiques. Studia artistarum: Études sur la Faculté des arts dans les Universités médiévales, no. 34 (Turnhout: Brepols, 2012). In Plainsong and Medieval Music, 23 (2014): 252-256.
  • Review of Guillaume Gross. Chanter en polyphonie à Notre-Dame de Paris aux 12e et 13e siècles. Studia Aristarum: Études sur la Faculté des arts dans les Universités médiévales, 14 (Turnhout: Brepols, 2007). In Plainsong and Medieval Music, 19 (2010): 213-217. 
  • Review of 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). In Notes: Quarterly Journal of the Music LIbrary Association, 65 (2009): 573-575.
  • Review of Anna Maria Busse Berger. Medieval Music and the Arts of Memory (Berkeley, Los Angeles, and London: University of California Press, 2005). In Speculum: A Journal of Medieval Studies, 82 (2007): 412-415. 
  • Review of Christopher Page, ed., The Summa Musicae: A Thirteenth-Century Manual for Singers. Cambridge Musical Texts and Monographs (Cambridge: Cambrdige University Press, 1989). In Journal of Musicological Research, 14 (1995): 281-86. 
  • Review of 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.