Matthew Cheung
Salisbury
I am
Lecturer in Music at University and Worcester Colleges, Oxford and a member of the Faculty of
Music in the University of Oxford. I am also the National Liturgy and Worship
Adviser of the Church of
England and,
during the Medieval
Convent Drama project, visiting chercheur senior (FNS) in
English philology at the Université de Fribourg.
I have
broad interests in the liturgy and sacred music of the late Middle
Ages. My research explores the
texts and plainsong found in the extant sources of the medieval liturgy, with
particular emphasis on transmission and reception.
I am
currently working on the texts and chants found in the manuscript and printed
sources of the Sanctorale (Proper of Saints)
according to the liturgical Use of Sarum, the
dominant pattern of liturgy, music, and ritual in the south of late medieval
England.
I am also
editing and analysing newly composed liturgical offices in late medieval
English MSS. Of particular interest at present are the four Marian offices (for
the Purification, Annunciation, Assumption, and Nativity of the Blessed Virgin
Mary) written by the 12th century cleric Ralph Niger (Lincoln Cathedral
Library, MS 15).
I am also
interested in the concurrent revivals of medieval music, liturgy, and
architecture in the late nineteenth-century English Church.
See my
books:
·
(as translator) Medieval
Latin Liturgy in English Translation (Kalamazoo: Medieval Institute
Publications, 2017);
·
The
Secular Liturgical Office in Late Medieval England (Turnhout: Brepols, 2015);
·
Hear
My Voice, O God: functional dimensions of Christian worship
(Collegeville: MN: Liturgical Press, 2014).
An
edition of the music for Lady Mass according to the Use of Sarum
is forthcoming from Early English Church Music (Stainer
and Bell for the British Academy), as the first volume in the series dedicated
to chant. I am currently writing Worship
in Medieval England, an invited contribution to MIP’s Past
Imperfect series.
Other interests include
·
Medievalism and
Music & Theology, for which I have co-convened seminars;
·
theory, especially theories of the archive and of Austinian performativity;
·
the relation between written sources and the
performed reality they represent;
·
late medieval and modern ecclesiastical history;
and
·
bibliography, especially in its connexions with the ‘digital
humanities’ movement.
Recently
I worked with sound artists and the National Trust to produce a sound
installation which immerses visitors to the stately home The Vyne in the sounds of
the medieval liturgy.
From 2012
to 2014 I helped to lead Fragments:
music, movement, and memory in a Borders landscape, in
collaboration with Historic Scotland and Red Field Arts. This was an arts
project, funded by Creative Scotland, which used a fragment of a
twelfth-century musical manuscript to engage with contemporary composers,
artists, dancers, and musicians.
I also
contributed to the Experience of Worship project at Bangor University.
See the Sarum
Customary Online, for part of which I was responsible, and the main Project website.
I am a
trustee of the Plainsong and Medieval Music Society, a
Fellow of the Royal Historical Society, and a director of the Digital Image Archive of Medieval Music.
Prospective
students may want to find out more about studying Music at Univ and Oxford more generally.
Post:
University College, Oxford, OX1 4BH | Email: matthew.cheung-salisbury
at music.ox.ac.uk | Telephone: by email request