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Associate Professor of History
M.A., M.Litt., Trinity College, Dublin
M.A., D.Phil., University of Oxford
L.M.S., Pontifical Institute of Mediaeval Studies, Toronto
T. J. H. McCarthy specializes in medieval intellectual history, with particular emphasis on Ottonian and Salian Germany. He has published on biblical commentary, palaeography, textual transmission and medieval music theory. His past and current teaching areas include the history of music from the middle ages to the Baroque period, modal counterpoint, medieval monasticism, Carolingian Europe, the conflict between Empire and Papacy in the eleventh century, the first crusade and the origins of the idea of crusading, as well as diplomatic palaeography and codicology.
Music, scholasticism and reform: Salian Germany 1024–1125 (Manchester, 2009).
Chronicles of the Investiture Contest: Frutolf of Michelsberg and Ekkehard of Aura(an English translation for Manchester Medieval Sources, forthcoming).
Aribo’s De musica and Sententiae: a critical edition and translation (TEAMS/Medieval Institute Publications, Kalamazoo; forthcoming).
‘Frutolf of Michelsberg’s Chronicle, the schools of Bamberg and the transmission of imperial polemic’, Haskins Society Journal (forthcoming).
‘Biblical scholarship in eleventh-century Michelsberg: the Glosa in vetus et novum testamentum of MS Karlsruhe, Badische Landesbibliothek, 504’, Scriptorium 62 (2008), 3–45.
‘The origins of Commentarius anonymus in Micrologum Guidonis Aretini in the medieval glossing tradition’, Revue d’histoire des textes n.s. 3 (2008), 217–27.
‘Aribo’s De musica, Commentarius anonymus in Micrologum Guidonis Aretini and Guido of Arezzo: textual correspondence and scholastic method’, Mediaevistik. Internationale Zeitschrift für interdisziplinäre Mittelalterforschung 20 (2007), 141–61.
‘Aribo’s De musica and Abbot William of Hirsau’, Revue bénédictine 116 (2006), 62–82.
‘Anonymous I and Prologus in tonarium: changing interpretations of music theory in eleventh-century Germany’, Journal of the Society for Musicology in Ireland 1 (2005), 15–29.
‘The identity of Master Henry of Augsburg (d. 1083)’, Revue bénédictine 114 (2004), 140–57.
‘Literary practice in eleventh-century music theory: the colores rhetorici and Aribo’sDe musica’, Medium Aevum 71 (2002), 191–208.
‘The theory and practice of music pedagogy in Gradus ad parnassum’, in T. Hochradner and S. Janes (eds), Fux-Forschung. Standpunkte und Perspektiven(Tutzing, 2008), pp. 149–58.
‘Music’, Encyclopaedia of Medieval Philosophy (Heidelberg: Springer, 2011), pp. 818–23.
Review of U. Braumann (ed.), Die Jahrseitbücher des Konstanzer Domkapitels(Monumenta Germaniae Historica Libri memoriales et necrologia. Nova series 7/1–2; Hanover, 2009), for The Medieval Review.
Review of R. E. Murray, S. Forscher Weiss and C. J. Cyrus (eds), Music education in the middle ages and renaissance (Bloomington, 2010), for The Medieval Review.
Review of C. Kostick (ed.), Medieval Italy and early modern women: essays in honour of Christine Meek (Dublin, 2010), for The Medieval Review (this review written jointly with C. E. Beneš).
Review of J. Luque-Moreno, Gaudeamus igitur. Historia y circunstancia, for Latomus(forthcoming).
Review of T. Bailey and A. Santouosso (eds), Music in medieval Europe: studies in honour of Bryan Gillingham (Ashgate, 2007), Early music today (June/July 2008), 28.
Review of Susan Wollenberg, Music at Oxford in the eighteenth and nineteenth centuries (Oxford, 2001), History of Universities 20 (2005), 187–8.