Chapter 10 Bibliography

Works Cited in Music in the Medieval West

Baltzer, Rebecca A. “The Polyphonic Progeny of an Et gaudebit: Assessing Family Relations in the Thirteenth-Century Motet.” In Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, edited by Dolores Pesce, 17–27. New York: Oxford University Press, 1997.

Bent, Margaret. “Polyphony of Texts and Music in the Fourteenth-Century Motet: Tribum que non abhorruit/Quoniam secta latronum/Merito hec patimur and Its Quotations.” In Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, edited by Delores Pesce, 82–103. Oxford: Oxford University Press, 1997.

Bent, Margaret. “Words and Music in Machaut’s Motet 9.” Early Music 31 (2003): 363–88.

Briggs, Charles F. The Body Broken: Medieval Europe, 1300–1520. London: Routledge, 2011.

Clément-Dumas, Gisèle, and Isabelle Fabre. “Saint Étienne et l’Amant Courtois: Jeux sur la figure du martyr dans le motet S’Amours.” In Lingua Mea Calamus Scribae: Mélanges offerts à Madame Marie-Noël Colette, edited by Daniel Saulnier et al. Etudes gregoriennes 26 (2009): 63–87.

Dillon, Emma. Medieval Music-Making and the “Roman de Fauvel.” Cambridge: Cambridge University Press, 2002.

Dillon, Emma. The Sense of Sound: Musical Meaning in France, 1260–1330. New York : Oxford University Press, 2012.

Gushee, Lawrence. “Jehan des Murs and His Milieu.” In Musik und die Geschichte der Philosophie und Naturwissenschaften im Mittelalter, edited by Frank Hentschel, 339–71. Leiden: Brill, 1998.

Huot, Sylvia. From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry. Ithaca, NY: Cornell University Press, 1987.

Inglis, Erik. “Gothic Architecture and a Scholastic: Jean de Jandun’s ‘Tractatus de laudibus Parisius’ (1323).” Gesta 42 (2003): 63–85.

Jordan, William C. “The Struggle for Influence at the Court of Philip III: Pierre de la Broce and the French Aristocracy.” French Historical Studies 24 (2001): 439–68.

Leach, Elizabeth Eva. “Dead Famous: Mourning, Machaut, Music, and Renown in the Chantilly Codex.” In A Late Medieval Songbook and Its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564), edited by Yolanda Plumley and Anne Stone, 63–93. Turnhout: Brepols, 2009.

Leach, Elizabeth Eva. “Nature’s Forge and Mechanical Reproduction: Reading, Writing, and Performing Song.” In Rhetoric Beyond Words: Delight and Persuasion in the Arts of the Middle Ages, edited by Mary Carruthers, 72–95. Cambridge: Cambridge University Press, 2010.

Leach, Elizabeth Eva. Guillaume de Machaut: Secretary, Poet, Musician. Ithaca, NY: Cornell University Press, 2011.

Leech-Wilkinson, Daniel. Machaut’s Mass: An Introduction. Oxford: Oxford University Press, 1990.

Maw, David. “Meter and Word Setting: Revising Machaut’s Monophonic Virelais.” Current Musicology 74 (2002): 69–102.

Murdoch, John E. “Subtilitates anglicanae in Fourteenth-Century Paris: John of Mirecourt and Peter Ceffons.” In Machaut’s World: Science and Art in the Fourteenth Century, edited by M. P. Cosman and B. Chandler, 52–55. New York: New York Academy of Sciences, 1978.

Page, Christopher. Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France, 1100–1300. Berkeley: University of California Press, 1986.

Parsoneault, Catherine Jean. “The Montpellier Codex: Royal Influence and Musical Taste in Late Thirteenth-Century Paris.” Ph.D. Dissertation. University of Texas, Austin, 2001.

Rankin, Susan. “The Divine Truth of Scripture: Chant in the Roman de Fauvel.Journal of the American Musicological Society 47 (1994): 203–243.

Robertson, Anne Walters. “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, edited by Delores Pesce, 52–81. Oxford: Oxford University Press, 1997.

Robertson, Anne Walters. Guillaume de Machaut and Reims: Context and Meaning in His Musical Works. Cambridge: Cambridge University Press, 2002.

Roesner, Edward H., François Avril, and Nancy F. Regalado, eds. Roman de Fauvel in the Edition of Mesire Chaillou de Pesstain: A Reproduction in Facsimile of the Complete Manuscript Bibliotheque Nationale, Fonds Français 146. New York: Broude Bros., 1990.

Roesner, Edward. “Labouring in the Midst of Wolves: Reading a Group of ‘Fauvel’ Motets.” Early Music History 22 (2003): 169–245.

Tanay, Dorit. Noting Music, Marking Culture: The Intellectual Context of Rhythmic Notation, 1250–1400. Holzerlingen: Hänssler, 1999.

Wathey, Andrew. “The Motets of Philippe de Vitry and the Fourteenth-Century Renaissance.” Early Music History 12 (1993): 119–50.

Zak, Gur. Petrarch’s Humanism and the Care of the Self. Cambridge: Cambridge University Press, 2010.

Zayaruznaya, Anna. “‘She Has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets.” Early Music History 28 (2009): 185–240.


Suggestions for Further Reading

Bolduc, Michelle. “Musical multilingualism in Le Roman de Fauvel (Paris, Bibliothèque nationale, MS fonds français 146).” In Medieval Multilingualism: The Francophone World and its Neighbours, edited by Christopher Kleinhenz and Keith Busby, (Medieval Texts and Cultures of Northern Europe, 20), 303–323. Turnhout: Brepols, 2010.

Earp, Lawrence Marshburn. Guillaume de Machaut: a Guide to Research. New York: Garland, 1995.

Enders, Jody. “Music, Delivery, and the Rhetoric of Memory in Guillaume de Machaut’s Remède de Fortune.” PMLA 107 (1992): 450–464.

Emmerson, K. Richard, and David F. Hult, trans. Antichrist and judgment day: the Middle French Jour du jugement; with a note on the music by Keith Glaeske. Asheville, N.C. Pendragon Press, 1998.

Everist, Mark. “Motets, French Tenors, and the Polyphonic Chanson ca. 1300.” The Journal of Musicology 24 (2007): 365–406.

Fuller, Sarah. “A Phantom Treatise of the Fourteenth Century? The Ars Nova.” The Journal of Musicology 4 (1985–1986): 23–50.

Fuller, Sarah. “Concerning Gendered Discourse in Medieval Music Theory: Was the Semitone ‘Gendered Feminine’?” Music Theory Spectrum 33 (2011): 65–89.

Griffith, Karlyn. “Performative reading and receiving a performance of the Jour du Jugement in MS Besançon 579.” Comparative Drama 45 (2011): 99–126.

Günther, Ursula. “Composers at the court of the antipopes in Avignon: research in the Vatican Archives.” Musicology and Archival Research: Colloquium Proceedings. Brussels, 22–23.4.1993, edited by Barbara Haggh, et al., 328–337. Brussel: Archives et Bibliothèques de Belgique, 1994.

Leach, Elizabeth Eva. Sung Birds: Music, Nature, and Poetry in the Later Middle Ages. Ithaca, N.Y., and London: Cornell University Press, 2007.

Lilley, Keith D. “Cities of God? Medieval Urban Forms and Their Christian Symbolism.” Transactions of the Institute of British Geographers 29 (2004): 296–313.

Maw, David. “Redemption and Retrospection in Jacques de Liège’sConcept of cadentia.” Early Music History 29 (2010): 79–118.

Nichols, Stephen G. “Writing the New Middle Ages” PMLA 120 (2005): 422–441.

Silen, Karen. “Dance in Thirteenth-Century Paris.” In Dance, Spectacle, and the Body Politick (1250–1750), edited by Jenifer Nevile, 67–79. Bloomington: University of Indiana Press, 2008.

Stone, Anne. “The ars subtilior in Paris.” Musica e storia 10 (2002): 373–404.

Wright, Craig. The Maze and the Warrior: Symbols in Architecture, Theology, and Music. Cambridge: Harvard University Press, 2001.