Skip to main content Accessibility help
×
Home
Hostname: page-component-768dbb666b-9hf5z Total loading time: 3.186 Render date: 2023-02-05T18:44:14.565Z Has data issue: true Feature Flags: { "useRatesEcommerce": false } hasContentIssue true

Volume II

Published online by Cambridge University Press:  04 August 2018

Mark Everist
Affiliation:
University of Southampton
Thomas Forrest Kelly
Affiliation:
Harvard University, Massachusetts
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Bent, Margaret and Hallmark, Anne, eds. The Works of Johannes Ciconia, PMFC 24. Monaco: Éditions de l’Oiseau-Lyre, 1985.Google Scholar
Fischer, Kurt and Gallo, F. Alberto, eds. Italian Sacred Music, PMFC 12. Monaco: Éditions de l’Oiseau-Lyre, 1976.Google Scholar
Fischer, Kurt and Gallo, F. Alberto, eds. Italian Sacred and Ceremonial Music, PMFC 13. Monaco: Éditions de L’Oiseau-Lyre, 1987.Google Scholar
Günther, Ursula, ed. The Motets of the Manuscripts Chantilly, Musée Condé, 564 (olim 1047), and Modena, Biblioteca Estense, α.M.5,24 (olim lat. 568), CMM 39. Rome: American Institute of Musicology, 1965.Google Scholar
Harrison, Frank Ll, ed. English Music for Mass and Offices, 2 vols., PMFC 1617. Monaco: Éditions de l’Oiseau-Lyre, 198386.Google Scholar
Harrison, Frank Ll, ed. Motets of English Provenance, texts ed. Peter Lefferts, PMFC 15. Monaco: Éditions de l’Oiseau-Lyre, 1980.Google Scholar
Harrison, Frank Ll, ed. Motets of French Provenance, PMFC 5. Monaco: Éditions de l’Oiseau-Lyre, 1968.Google Scholar
Hoppin, Richard H., ed. The Cypriot-French Repertory of the Manuscript Torino, Biblioteca nazionale, J.ii.9, 4 vols., CMM 21. Rome: American Institute of Musicology, 196063.Google Scholar
Ludwig, Friedrich, ed. Guillaume de Machaut: Musikalische Werke, 4 vols. Leipzig and Wiesbaden: Breitkopf & Härtel, 192654.Google Scholar
Sanders, Ernest H., ed. English Music of the Thirteenth and Early Fourteenth Centuries, PMFC 14. Monaco: Éditions de l’Oiseau-Lyre, 1979.Google Scholar
Schrade, Leo, ed. Guillaume de Machaut: Oeuvres complètes, 2 vols., PMFC 23. Monaco: Éditions de l’Oiseau-Lyre, 1956; reprinted in 5 vols., 1977.Google Scholar
Schrade, Leo, ed. The Roman de Fauvel; The Works of Philippe de Vitry; French Cycles of the Ordinarium Missae, PMFC 1. Monaco: Éditions de l’Oiseau-Lyre, 1956.Google Scholar

Secondary Sources

Anderson, Gordon A.Responsory Chants in the Tenors of Some Fourteenth-Century Continental Motets,” Journal of the American Musicological Society 29 (1976), 119–27.CrossRefGoogle Scholar
Apel, Willi. “Remarks about the Isorhythmic Motet,” in Les colloques de Wégimont ii: L’Ars nova, ed. Clercx-Lejeune, Suzanne and Collaer, Paul. Paris: Les Belles Lettres, 1959, 139–48.Google Scholar
Bent, Margaret. “A Contemporary Perception of Early Fifteenth-Century Style: Bologna Q15 as a Document of Scribal Editorial Initiative,” Musica Disciplina 41 (1987), 183201.Google Scholar
Bent, Margaret. “Deception, Exegesis and Sounding Number in Machaut’s Motet 15,” Early Music History 10 (1991), 1527.CrossRefGoogle Scholar
Bent, Margaret. “Fauvel and Marigny: Which Came First?” in Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146, ed. Bent, Margaret and Wathey, Andrew. Oxford: Clarendon Press, 1998, 3552.Google Scholar
Bent, Margaret. “The Fourteenth-Century Italian Motet,” in L’ars nova italiana del Trecento VI, ed. Cattin, Giulio. Certaldo: Polis, 1992, 85125.Google Scholar
Bent, Margaret. “A Note on the Dating of the Trémoïlle Manuscript,” in Beyond the Moon: Festschrift Luther Dittmer, ed. Gillingham, Bryan and Merkley, Paul, Musikwissenschaftliche Abhandlungen / Musicological Studies 53. Ottawa: Institute of Mediaeval Music, 1990, 217–42.Google Scholar
Bent, Margaret. “Some Aspects of the Motets in the Cyprus Manuscript,” in The Cypriot-French Repertory of the Manuscript Torino J.ii.9: Report of the International Musicological Congress, Paphos 20–25 March, 1992 …, ed. Günther, Ursula and Finscher, Ludwig, Musicological Studies and Documents 45. Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1995, 357–75.Google Scholar
Bent, Margaret. “Words and Music in Machaut’s Motet 9,” Early Music 31 (2003), 363–89.CrossRefGoogle Scholar
Bent, Margaret and Wathey, Andrew, eds. Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146. Oxford: Clarendon Press, 1998.Google Scholar
Boogaart, Jacques. “Encompassing Past and Present: Quotations and Their Function in Machaut’s Motets,” Early Music History 20 (2001), 186.CrossRefGoogle Scholar
Brand, Benjamin. “Viator ducens ad celestia: Eucharistic Piety, Papal Politics, and an Early Fifteenth-Century Motet,” Journal of Musicology 20 (2003), 250–84.CrossRefGoogle Scholar
Brown, Thomas. “Another Mirror of Lovers? Order, Structure and Allusion in Machaut’s Motets,” Plainsong and Medieval Music 10 (2001), 121–33.CrossRefGoogle Scholar
Brownlee, Kevin. “Fire, Desire, Duration, Death: Machaut’s Motet 10,” in Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, ed. Clark, Suzannah and Leach, Elizabeth Eva, Studies in Medieval and Renaissance Music 4. Woodbridge: Boydell & Brewer, 2005, 7993.Google Scholar
Brownlee, Kevin. “Machaut’s Motet 15 and the Roman de la rose: The Literary Context of Amours qui a le pouoir / Faux Samblant m’a deceü / Vidi Dominum,” Early Music History 10 (1991), 114.CrossRefGoogle Scholar
Clark, Alice V.Listening to Machaut’s Motets,” Journal of Musicology 21 (2004), 487513.CrossRefGoogle Scholar
Cumming, Julie E.The Aesthetics of the Medieval Motet and Cantilena,” Historical Performance 7 (1994), 7183.Google Scholar
Cumming, Julie E. The Motet in the Age of Du Fay. Cambridge University Press, 1999.CrossRefGoogle Scholar
Dillon, Emma. “The Profile of Philip V in the Music of Fauvel,” in Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146, ed. Bent, Margaret and Wathey, Andrew. Oxford: Clarendon Press, 1998, 215–31.Google Scholar
Earp, Lawrence. Guillaume de Machaut: A Guide to Research, Garland Composer Resource Manuals. New York and London: Garland, 1995.Google Scholar
Earp, Lawrence, with Leo, Domenic and Shapreau, Carla. Introductory Study to The Ferrell-Vogüé Machaut Manuscript, DIAMM Facsimiles 5. Oxford: DIAMM Publications, 2014.Google Scholar
Everist, Mark. “Motets, French Tenors, and the Polyphonic Chanson ca. 1300,” Journal of Musicology 24 (2007), 365406.CrossRefGoogle Scholar
Fuller, Sarah. “Modal Tenors and Tonal Orientation in Motets of Guillaume de Machaut,” Current Musicology 45–47 (1988), 199245.Google Scholar
Fuller, Sarah. “On Sonority in Fourteenth-Century Polyphony: Some Preliminary Reflections,” Journal of Music Theory 30 (1986), 3570.CrossRefGoogle Scholar
Günther, Ursula. “The 14th-Century Motet and Its Development,” Musica Disciplina 12 (1958), 2747.Google Scholar
Hartt, Jared C.Rehearing Machaut’s Motets: Taking the Next Step in Understanding Sonority,” Journal of Music Theory 54 (2010), 179234.CrossRefGoogle Scholar
Hartt, Jared C.The Three Tenors: Machaut’s Secular Trio,” Studi musicali 38 (2009), 237–71.Google Scholar
Huot, Sylvia. “Patience in Adversity: The Courtly Lover and Job in Machaut’s Motets 2 and 3,” Medium Aevum 63 (1994), 222–38.Google Scholar
Kügle, Karl. The Manuscript Ivrea, Biblioteca capitolare 115: Studies in the Transmission and Composition of Ars nova Polyphony, Wissenschaftliche Abhandlungen / Musicological Studies 69. Ottawa: Institute of Mediaeval Music, 1997.Google Scholar
Kügle, Karl. “The Repertory of Manuscript Torino, Biblioteca Nazionale J.ii.9, and the French Tradition of the 14th and Early 15th Centuries,” in The Cypriot-French Repertory of the Manuscript Torino J.ii.9: Report of the International Musicological Congress, Paphos 20–25 March, 1992 …, ed. Günther, Ursula and Finscher, Ludwig, Musicological Studies and Documents 45. Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1995, 151–81.Google Scholar
Kügle, Karl. “Two Abbots and a Rotulus: New Light on Brussels 19606,” in Quomodo cantabimus canticum? Studies in Honor of Edward H. Roesner, ed. Cannata, David et al., Miscellanea 7. Middleton, WI: American Institute of Musicology, 2008, 145–85.Google Scholar
Leech-Wilkinson, Daniel. “The Emergence of Ars Nova,” Journal of Musicology 13 (1995), 285317.CrossRefGoogle Scholar
Leech-Wilkinson, Daniel. “Related Motets from Fourteenth-Century France,” Proceedings of the Royal Musical Association 109 (1982), 122.CrossRefGoogle Scholar
Lefferts, Peter. The Motet in England in the Fourteenth Century, Studies in Musicology 94. Ann Arbor, MI: University Microfilms International, 1986.Google Scholar
Maurey, Yossi. “A Courtly Lover and an Earthly Knight Turned Soldiers of Christ in Machaut’s Motet 5,” Early Music History 24 (2005), 169211.CrossRefGoogle Scholar
Page, Christopher. Discarding Images. Oxford: Clarendon Press, 1993.Google Scholar
Page, Christopher. “Johannes de Grocheio on Secular Music: A Corrected Text and a New Translation,” Plainsong and Medieval Music 2 (1993), 1741.CrossRefGoogle Scholar
Plumley, Yolanda and Stone, Anne, eds. Codex Chantilly: Bibliothèque du Château de Chantilly, MS 564, 2 vols., Épitome musicale. Turnhout: Brepols, 2008.Google Scholar
Robertson, Anne W. Guillaume de Machaut and Reims: Context and Meaning in His Musical Works. Cambridge University Press, 2002.Google Scholar
Robertson, Anne W.Which Vitry? The Witness of the Trinity Motet from the Roman de Fauvel,” in Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Pesce, Dolores. New York: Oxford University Press, 1997, 5281.Google Scholar
Roesner, Edward H.Labouring in the Midst of Wolves: Reading a Group of Fauvel Motets,” Early Music History 22 (2003), 169245.CrossRefGoogle Scholar
Roesner, Edward H., Avril, François, and Regalado, Nancy Freeman, eds. Le Roman de Fauvel in the Edition of Mesire Chaillou de Pesstain: A Reproduction in Facsimile of the Complete Manuscript Paris, Bibliothèque Nationale, Fonds Français 146. New York: Broude, 1990.Google Scholar
Sanders, Ernest H.The Medieval Motet,” in Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, ed. Arlt, Wulf et al. Bern: Franke, 1973, i: 497573. Reprinted in Sanders, , French and English Polyphony of the 13th and 14th Centuries: Style and Notation. Aldershot: Ashgate, 1998.Google Scholar
Wathey, Andrew B.The Marriage of Edward III and the Transmission of French Motets to England,” Journal of the American Musicological Society 45 (1992), 129.CrossRefGoogle Scholar
Wathey, Andrew B.The Motets of Philippe de Vitry and the Fourteenth-Century Renaissance,” Early Music History 12 (1993), 119–50.CrossRefGoogle Scholar
Zayaruznaya, Anna. “Hockets as Compositional and Scribal Practice in the ars nova Motet – A Letter from Lady Music,” Journal of Musicology 30 (2013), 461501.CrossRefGoogle Scholar
Zayaruznaya, Anna. The Monstrous New Art: Divided Forms in the Late Medieval Motet, Music in Context. Cambridge University Press, 2015.CrossRefGoogle Scholar
Zayaruznaya, Anna. “‘She Has a Wheel That Turns … ’: Crossed and Contradictory Voices in Machaut’s Motets,” Early Music History 28 (2009), 185230.CrossRefGoogle Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×