Dr Jane Flynn

‘When all that is to Was ys brought: John Heywood’s ‘rythme declaringe his own life and nature’, British Catholic History 33/3 (2017): 323–56.

‘English Jesuit Missionaries, Music Education, and the Musical Participation of Girls and Women in Devotional Life in Recusant Households from ca. 1580 to ca. 1630’, in Beyond Boundaries: Rethinking Music Circulation in Early Modern England, ed. Linda Phyllis Austern, Candace Bailey and Amanda Eubanks Winkler, Music and the Early Modern Imagination (Bloomington and Indianapolis: Indiana University Press, 2017), pp. 28–41.

‘The Musical Knowledge and Practice of Expert Tudor Descanters’, in Late Medieval Liturgies Enacted: The Experience of Worship in Cathedral and Parish Church, ed. Sally Harper, P.S. Barnwell and Magnus Williamson (Farnham: Ashgate, 2016), pp. 177–89.

‘How to play “divers wayes upon the Plainsong Miserere” using organ versets from the Mulliner Book, GB-Lbl Add. MS 30513, and Add. MS 29996’, including musical examples and organ versets recorded on the reconstructed Tudor Wingfield Organ (Martin Goetz and Dominik Gwynn, 2001) on 7-8 September, 2013, Wingfield, Suffolk, online at ‘jeflynntudorimprovisation.blog’

‘The Education of Choristers in England during the Sixteenth Century’, in Institutions and Patronage in Renaissance Music, ed. Thomas Schmidt-Beste, A Library of Essays on Renaissance Music 6 (Ashgate, 2012), pp. 141-60; first published in English Choral Practice, c. 1400-c. 1650, ed. John Morehen, Cambridge Studies in Performance Practice (Cambridge University Press, 1995), pp. 180–99.

Gunilla Iversen, Laus Angelica: Poetry in the Medieval Mass, trans. William Flynn, ed. Jane Flynn (Brepols, 2010).

‘To play upon the organs any man[ner] play[n]song’, BIOS [British Institute of Organ Studies] Journal 34 (2010): 6–51.

Review article, with William Flynn, of Anna Maria Busse Berger, Medieval Music and the Art of Memory, in Early Music History 28 (2009): 249–62.

‘Tudor organ versets: echoes of an improvised tradition’, Journal of the Royal College of Organists 3 (2009): 6–26.

‘Thomas Mulliner: An Apprentice of John Heywood?’, in Young Choristers, 650-1700, ed. Susan Boynton and Eric Rice, Studies in Medieval and Renaissance Music 7 (Woodbridge: Boydell, 2008), pp. 173–94.

‘Preston, Thomas’, ‘Peebles, David’, ‘Redford, John’,’ and ‘Rhys, Philip ap’, in Die Musik in Geschichte und Gegenwart, 2nd ed. Vol. 13 (Kassel: Bärenreiter-Verlag, 2005).

‘Medieval improvisation’, review (over 2,000 words) of Timothy McGee, ed., Improvisation in the Arts of the Middle Ages and Renaissance (Kalamazoo, 2003), in Early Music 33 (February, 2005): 115–17.

‘The Intabulation of De toutes flours in the Codex Faenza as Analytical Model’, in Machaut’s Music: New Interpretations, ed. Elizabeth E. Leach, Studies in Medieval and Renaissance Music (Boydell & Brewer, 2003), pp. 175–91.

‘Byrd, William’, ‘Generalbass (basso continuo)’, ‘Josquin Desprez’, and ‘Kontrafaktur / Kontrafaktur Lied’, in Die Religion in Geschichte und Gegenwart, 4th ed., ed. Hans David Betz et al (Tübingen: J. C. B. Mohr, vol. 1, 1998, vol. 3, 2000, vol. 4, 2001).

‘A Reconsideration of British Library Add. MS 30513 (The Mulliner Book): Practical Music Education in Sixteenth-Century England’ (Duke University, unpublished PhD dissertation, 1993)