¹ This complex has been examined before, most recently by Butterfield, Ardis, ‘The Refrain and the Transformation of Genre in Le Roman de Fauvel’, in Fauvel Studies: Allegory, Chronicle, Music and Image in Paris, Bibliothèque Nationale Ms français 146, ed. Bent, M. and Wathey, A. (Oxford, 1998), 111–12 and 146–51Google Scholar; Peraino, Judith A., Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut (Oxford, 2011), 231–4CrossRefGoogle Scholar; and Dillon, Emma, The Sense of Sound: Musical Meaning in France, 1260–1330 (Oxford, 2013), 122–7Google Scholar.

² The motet is also listed in the Trémoille index, and its triplum is in Durham, Cathedral Library C.I.20 (p. 231).

³ BNF latin 14741 is one of the two witnesses to the text edited by Reaney et al. as Vitry's Ars nova (Philippi de Vitriaco Ars nova, ed. G. Reaney, A. Gilles and J. Maillard, Corpus scriptorum de musica 8 ([Rome]: American Institute of Musicology, 1964), p. 32). The Compendium totius artis motetorum is also close to the Vitrian tradition, and is copied in the earliest manuscript source extant for any of the Vitrian texts: Erfurt, Wissenschaftliche Allgemeinbibliothek, Ms. 8° 94, fols 68v–70 (c.1350). The treatise is edited in Wolf, Johannes, ‘Ein anonymer Musiktraktat aus der ersten Zeit der “Ars Nova”’, Kirchenmusikalisches Jahrbuch 21 (1908), pp. 33–8Google Scholar, at p. 37.