This final podlecture is a short introduction to Machaut’s Motets.
Podlecture 6: Machaut’s Motets
• 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: https://www.diamm.ac.uk/documents/27/Clark.pdf
• 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.
• 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.
• 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.
TEN TERMS TO TEST YOURSELF
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)