Matthew’s research focuses on the music of the thirteenth century, mostly in France. His research has focused on the quotation and re-use of pre-existing musical material, thinking both about how it affected compositional choices and how it fitted within larger cultural ideas about artistic production. His doctoral work focused on the relationship between polyphonic motets and the monophonic songs of the trouvères, looking at a corpus of motets and songs which quoted each other. His current project focuses on the consequences of re-use for the musical language of motets, seeing musical composition in a wider context of medieval artistic creation and re-creation. He has further research interests in the use of music in medieval literature and the linked social roles of singing and desire in thirteenth-century courtly culture.
Matthew teaches early music history at both college and faculty levels, as well as supervising dissertations.
Leach, Elizabeth Eva, Joseph W. Mason, and Matthew P. Thomson (eds), A Medieval Songbook: Trouvère MS C (Boydell and Brewer, forthcoming, expected publication date 2021).
Chapters in Edited Volumes:
‘Introduction’ and ‘Trouvère MS C and Polyphonic Motets: Exemplars, Adaptations, and Scribal Priorities’, in Leach, Elizabeth Eva, Joseph W. Mason, and Matthew P. Thomson (eds), A Medieval Songbook: Trouvère MS C (Boydell and Brewer, forthcoming, expected publication date 2021).
‘Building a Motet around Quoted Material: Textual and Musical Structure in Motets based on Monophonic Songs’ in Jared Hartt (ed.), A Companion to Medieval Motets (Woodbridge: Boydell Press, 2018), 243-260.
‘Monophonic Song in Motets: Performing Quoted Material and Performing Quotation’ in Ardis Butterfield, Henry Hope, and Pauline Souleau (eds), Performing Medieval Text (Cambridge: Legenda, 2017), 136-151.
‘’Trouvère Thievery’, Review of ‘Eliza Zingesser, Stolen Song: How the Troubadours became French (Ithaca, NY: Cornell University Press, 2020)’, Early Music.
Review of ‘The Montpellier Codex: The Final Fascicle. Contents, Contexts, Chronologies, ed. by Catherine A. Bradley and Karen Desmond, Studies in Medieval and Renaissance Music (Woodbridge: Boydell Press, 2018)’, Music and Letters, 100 (2019), 127-129.
Review of ‘Gaël Saint-Cricq, Eglal Doss-Quinby, and Samuel N. Rosenberg, Motets from the Chansonnier de Noailles, Recent Researches in the Music of the Middle Ages and Early Renaissance 42 (Middleton, Wisconsin: A-R Editions, 2017)’, Medium Aevum, 88 (2019), 182.
Review of ‘Medieval and Renaissance Music Conference 2018’ (with Katie Bank), Early Music, 46 (2018), 706-707.
Review of ‘Anna Zayaruznaya, The Monstrous New Art: Divided Forms in the Late Medieval Motet. Music in Context Series (Cambridge: Cambridge University Press, 2015)’, Medium Aevum, 85 (2016), 351.