Machaut (Prelims) Lecture 6

This final podlecture is a short introduction to Machaut’s Motets.

Podlecture 6: Machaut’s Motets

GENERAL studies
• Hartt, Jared, ed. A Critical Companion to Medieval Motets. Woodbridge, Suffolk: Boydell and Brewer, 2018.

On tenor organization:
• Clark, Alice V. “Concordare cum materia: The Tenor in the Fourteenth-Century Motet.” PhD thesis, Princeton, 1996. Full text at:
• Zayaruznaya, Anna. Upper-voice Structures and Compositional Process in the Ars nova Motet. RMA Monographs. Edited by Simon Keefe London: Routledge, 2018.
• Leech-Wilkinson, Daniel. Compositional techniques in the four-part isorhythmic motets of Philippe de Vitry and his contemporaries. Outstanding dissertations in music from British universities. New York: Garland, 1989.
• Leech-Wilkinson, Daniel. “Related Motets from Fourteenth Century France.” Proceedings of the Royal Musical Association 109 (1983): 1-22.
• Bent, Margaret. “What is Isorhythm?”. In Quomodo cantabimus canticum? – Studies in honor of Edward H. Roesner, edited by David Butler Cannata, Gabriela Ilnitchi Currie, Rena Charnin Mueller and John Nadas. 121–43. Middleton: American Institute of Musicology, 2008.

On meaning:
• Boogaart, Jacques. “Encompassing Past and Present: Quotations and Their Function in Machaut’s Motets.” Early Music History 20 (2001): 1-86.
• Zayaruznaya, Anna. “‘She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets.” Early Music History 28 (2009): 185-240.
• Zayaruznaya, Anna. The Monstrous New Art: Divided Forms in the Late Medieval Motet. Music in Context. Edited by J. P. E. Harper-Scott and Julian Rushton Cambridge: Cambridge University Press, 2015.

On order
• Robertson, Anne Walters. Guillaume de Machaut and Reims: Context and Meaning in His Musical Works. Cambridge: Cambridge University Press, 2002.
• Reviews of Robertson 2002 by Jacques Boogaart (Early Music 32, no.4 (2004): 605-608; Sarah Fuller (Music & Letters 87, no. 1 (2006): 88-90); Elizabeth Eva Leach (Plainsong and Medieval Music 13, no.1 (2004): 95-102).
• Brown, Thomas. “Another Mirror of Lovers? Order, Structure and Allusion in Machaut’s Motets.” Plainsong and Medieval Music 10 (2001): 121-34.
• See also Leach 2011, pp.283-290.

Some individual motet analyses
• Boogaart, Jacques. “Observations on Machaut’s Motet He! Mors/Fine Amour/Quare non sum mortuus (M3).” Chap. 3 In Machaut’s Music: New Interpretations, edited by Elizabeth Eva Leach. 13-30. Woodbridge: Boydell and Brewer, 2003.
• Maurey, Yossi. “A Courtly Lover and an Earthly Knight Turned Soldiers of Christ in Machaut’s Motet 5.” Early Music History 24 (2005): 169-211.
• Bent, Margaret. “Words and Music in Machaut’s Motet 9.” Early Music 31 (2003): 363-88.
• Bent, Margaret. “Machaut’s Motet 10 and its Interconnections.” Chap. 15 In A Critical Companion to Medieval Motets, edited by Jared Hartt. Studies in Medieval and Renaissance Music, 301-19. Woodbridge: Boydell, 2018.
• Brownlee, Kevin. “Fire, Desire, Duration, Death: Machaut’s Motet 10.” In Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, edited by Suzannah Clark and Elizabeth Eva Leach. Studies in Medieval and Renaissance Music, 79–93. Woodbridge: Boydell and Brewer, 2005.
• Bent, Margaret. “Deception, Exegesis and Sounding Number in Machaut’s Motet 15.” Early Music History 10 (1991): 15-27.
• Brownlee, Kevin. “Machaut’s Motet 15 and the Roman de la Rose: The Literary Context of Amours qui a le pouoir/Faus samblant m’a deceü/Vidi Dominum.” Early Music History 10 (1991): 1-14.

On polytextuality outside the motet
• Leach, Elizabeth Eva. “Music and Verbal Meaning: Machaut’s Polytextual Songs.” Speculum 85, no. 3 (July) (2010): 567-91.


Check you know what or who the following are:

1. color or, if you have a subscription, check Grove
2. talea  or, if you have a subscription, check Grove
3. diminution, or, if you have a subscription, check Grove
4. hocket, or, if you have a subscription, check Grove
5. Philippe de Vitry, or, if you have a subscription, check Grove
6. Christian liturgy
7. Henry Suso
8. Egidius de Murino, or, if you have a subscription, check Grove
9. Tenor, or, if you have a subscription, see section 2 in Grove
10. tenor function (this is an article from Current Musicology by Kevin N. Moll)

The start of the motet section in MS A, f. CDXIVv

One thought on “Machaut (Prelims) Lecture 6”

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s