Daniel Trocmé-Latter’s research interests include the role of music in liturgy and ceremony, with his first monograph (The Singing of the Strasbourg Protestants, 1523–1541) investigating the attitudes and approaches to music of the Protestant reformers in 16th-century Strasbourg. He has also undertaken research on the music of the Genevan and Scottish Psalters of the Reformation, as well as the influence of late 15th-century preachers on the German Reformation’s stance towards music. With Boydell & Brewer he is currently preparing a monograph about—with musical transcriptions of—a set of sacred Latin partbooks, assembled by the Milanese composer Hermann Matthias Werrecore and sent to the publisher Peter Schöffer in Strasbourg in the mid-16th-century. The music not only crossed the Alps, but it was cross-confessional, travelling from a staunchly Catholic city to a newly Protestant one. Daniel’s interest in film music has manifested itself in recent years with explorations of music’s signifying functions and the use of pre-existing music (especially early music) on screen, and he has several chapters/articles in the pipeline, the first of which is due to appear in late 2021. Since 2016 he has also been the Recording and Digital Media Reviews Editor for the Oxford journal Early Music.
Aside from research, Daniel’s role as Director of Music involves overseeing extra-curricular musical activity in the College, including directing the Charter Choir, which has featured on two full-length commercial recordings: Audite finem in 2014 and Till all the place with music ring in 2019. Several of Daniel’s own compositions appear on the recordings. Daniel supervises a variety of undergraduate modules at the University of Cambridge, in both the Music and History Triposes. As a Director of Studies at Homerton and at Magdalene Colleges he looks after the undergraduate Music students. Daniel is also Praelector at Homerton College, whose role it is to present graduands to receive their degrees in Senate House.
PhD, MA, MMus (Southampton), ARCO
'The Singing of the Strasbourg Protestants, 1523-1541' ( Cambridge, 2011).
Musica catholica? Peter Schöffer’s Cantiones quinque vocum selectissimae of 1539 (Woodbridge: Boydell & Brewer, forthcoming in late 2021/early 2022).
The Singing of the Strasbourg Protestants, 1523–1541, St Andrews Studies in Reformation History (Farnham: Ashgate, 2015; repr. Routledge: Abingdon, 2016).
Chapters in edited volumes:
(trans. W. Fuhrmann) ‘Protestantische religiöse Identitäten in Lied und Kirchenmusik: Basel und Straßburg im 16. Jahrhundert’, in W. Fuhrmann, ed., Musikleben in der Renaissance: Zwischen Alltag und Fest – Teilband I: Orte der Musik, Handbuch der Musik der Renaissance (vol. 4) (Laaber, Regensburg: Laaber Verlag, 2019), pp. 193–221.
‘Music, Heretics, and Reformers’, in G. McDonald and D. Burn, eds., Music and Theology in the European Reformations (Turnhout: Brepols, 2018 [forthcoming]).
‘Thieves, Drunkard and Womanisers? Perceptions of Church Musicians in Early Reformation Strasbourg’, in R. G. Hobbs and A. Noblesse-Rocher, eds., Bible, Histoire et Société : Mélanges offerts à Bernard Roussel (Turnhout: Brepols, 2013), pp. 383–399.
‘A Disney Requiem? Iterations of the “Dies irae” in the score to The Lion King (1994)’, Journal of Music and the Moving Image [accepted; forthcoming in 2021].
‘Liturgical re-enactments and the Reformation’, Early Music, 45, no. 4 (November 2017 [published 2018]), pp. 665-672.
‘The Psalms as a mark of Protestantism: The Introduction of Liturgical Psalm-Singing in Geneva’, Plainsong & Medieval Music, 20, no. 2 (2011), pp. 149–167.
‘“May those who know nothing be content to listen”: Loys Bourgeois’s Advertissement to the Psalms (1551)’, Reformation and Renaissance Review, 11, no. 3 (2009), pp. 333–345.
Early Music, 45, no. 4 (November 2017), pp. 509–510.