Lori Kruckenberg

Lori Kruckenberg's picture
Associate Professor of Musicology
208 Collier
PhD 1997, University of Iowa
MA 1991, University of Iowa
BA 1985, Bethany College, Kansas
2012 Noah Greenberg Prize, American Musicological Society
2008-09 Fulbright Scholar
1992–94 Fulbright Scholar
Oregon Humanities Grant
Oregon Community Credit Union Research Fellowship

Lori Kruckenberg is associate professor of musicology, and has been on the University of Oregon music faculty since 2001. She teaches the undergraduate and graduate music history surveys of the medieval and Renaissance periods as well as speciality courses in the history of music theory and early music notations. Topics in graduate seminars have included sequences, tropes, New Song (cantica nova), women musicians in medieval German, and early music in England. She was a Fulbright scholar to Germany (1992–94) and she researched at the Universität Erlangen-Nürnberg until 1996. Prior to her arrival at the UO, she held positions at the University of Iowa and University of Louisville. Most recently, she was visiting professor at the Universität Basel (2008–09).

Dr. Kruckenberg has published articles in several international journals, conference proceedings, and lexicons, including Revue bénédictine, Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, Cantus Planus, Berichte des Internationalen Kongresses der Gesellschaft für Musikforschung, and Die Musik in Geschichte und Gegenwart (MGG). A chapter on the liturgical sequence will appear in The Cambridge History of Medieval Music (forthcoming). Other notable articles include “Neumatizing the Sequence: Special Performances of Sequences in the Central Middle Ages” in the Journal of American Musicology (2006) and  “Music for John the Evangelist: Virtue and Virtuosity at Paradies,” in Harvard’s Houghton Library Studies (2008). She co-edited and contributed chapters to The Sequences of Nidaros: A Nordic Repertory and Its European Context (Tapir Academic Press, 2006). She is currently preparing on the monograph A New Kind of Song: The Sequentiae novae, ca. 1050– ca. 1200 as well as articles on the traditions of the medieval German cantrix and the role of Messine chant in the propagation of cultural identity.
In 2008-09 Dr. Kruckenberg was a senior Fulbright scholar at the Bruno-Stäblein-Archiv at the Julius-Maximilians-Universität in Würzburg, Germany. Other recent awards include the 2012 Noah Greenberg Prize from the American Musicological Society, an Oregon Humanities Grant, and the Oregon Community Credit Union Research Fellowship, a partial subvention for a collaborative project with Professor Eric Mentzel and members of the Schola Cantorum Basiliensis. The recording project dealing with textless singing and reconstruction of medieval performance practices is forthcoming.
Dr. Kruckenberg has lectured and presented at several universities (Cambridge, Oxford, Southampton, Basel, Erlangen-Nuremberg, Boulder, and various conferences and symposia (Harvard, Yale, Notre Dame, Bangor [UK], Basel, Lillafüred, Munich, Niederaltaich, Paderborn, Salzburg, Trondheim, Utrecht, Venice, Weimar). She regularly presents at meetings of the American Musicological Society, Cantus Planus, International Med-Ren Music Conference, the International Congress on Medieval Studies at Kalamazoo, and International Medieval Congress at Leeds. She currently serves on the editorial board of Plainsong and Medieval Music (Cambridge University Press) and Corpus monodicum, and sits on the Council of the American Musicological Society and on the Board of Academic Advisors of the Center for Volga German Studies at Concordia in Portland.
Selected Publications: 


  • The Sequences of Nidaros: A Nordic Repertory and Its European Context, edited by Lori Kruckenberg and Andreas Haug. Skrifter nr. 20. Trondheim: Tapir Academic Press, 2006.


  •  “Sequences.” In The Cambridge History of Medieval Music, edited by Mark Everist and Thomas F. Kelly. Cambridge: Cambridge University Press, forthcoming.
  •  “Transmission, Reception, Resistance and Adaptation of Sequentiae novae of ca. 1100.” Beiträge zum Kulturtransfer. Perspektiven eines Forschungsansatzes (in press).
  • “Music for John the Evangelist: Virtue and Virtuosity at Paradies.” In Leaves from Paradise: The Cult of John at the Dominican Convent Paradies bei Soest, 133–160, edited by Jeffrey F. Hamburger. Houghton Library Studies. Cambridge, MA: Houghton Library, distributed by Harvard University Press, 2008.
  •  “The Lotharingian Axis and Monastic Reforms: Towards the Recovery of an Early Messine Trope Tradition.” In Cantus Planus – Study Group of the International Musicological Society: Papers Read at the Twelfth Meeting, Lillafüred, Hungary. 23–28 August 2004, edited by László Dobszay, et al., 723–752. Budapest: Hungarian Academy of Sciences, 2006.
  • “Neumatizing the Sequence: Special Performances of Sequences in the Central Middle Ages,” Journal of American Musicological Society 59/2 (Summer 2006): 243–317.
  • “Making a Sequence Repertory: The Tradition of the Ordo Nidrosiensis Ecclesiae” (Chapter 1) and “Two Sequentiae novae at Nidaros: Celeste organum and Stola iocunditatis” (Chapter 11). In The Sequences of Nidaros: A Nordic Repertory and It European Context, 5–44 and 297–342. edited by Lori Kruckenberg and Andreas Haug, Skrifter nr. 20. Trondheim: Tapir Academic Press, 2006.
  • “The Absence of Transmission: Symptoms of a Musical-Cultural Reception Barrier between the West- and East Frankish Regions.” In Bericht über den XIII. Internationaler Kongress der Gesellschaft für Musikforschung in Weimar 2004, 2 vols. Edited by Detlef Altenburg, et al. Kassel and Stuttgart: Bärenreiter/Metzler, in press since 2005.
  • “Some Observations on a Troparium Tardivum. The Proper Tropes in Utrecht, Universiteitsbibliotheek, 417,” Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis 50/1–2 (2003): 151–182.
  • “Zur Rekonstruktion des Hirsauer Sequentiars,” Revue bénédictine 109/1–2 (1999): 186–207.