| Composer | Machaut, Guillaume de (ca. 1300–1377) |
|---|---|
| Genre | Motet |
| Appears in |
GB-Odiamm Virtual Reconstruction of Cambrai fragments (F-CA(n)) ((16v) F-CA MS B 1328, 2r (original verso))
F-CA Inc. B 144 (front board (=L-I:16v))
F-CA MS B 1328 (2 (L-I:16v))
F-Pnm Français 1584 (Machaut A) (421v—422)
F-Pnm Français 1585 (Machaut B) (265v—266)
F-Pnm Français 1586 (Machaut C) (212v—213)
F-Pnm Français 22545-22546 (Machaut F-G) (109v—110)
F-Pnm NAF 23190 (Trémoille) (viii)
I-IV MS CXV (115) (Ivrea Codex) (24v—25)
|
Gilles, André, Jean Maillard, and Gilbert Reaney (eds.) 1964. Philippi de Viytriaco: Ars nova. Corpus Scriptorum de Musia. Rome: American Institute of Musicology. pp. 32.
Earp, Lawrence M. 1983. Scribal Practice, Manuscript Production and the Transmission of Music in Late Medieval France: The Manuscripts of Guillaume de Machaut. PhD Dissertation, Princeton University. pp. 327-41.
Earp, Lawrence M. 1989. Machaut's Role in the Production of Manuscripts of His Works. Journal of the American Musicological Society, 42: 461-503. pp. 493-97.
Droz, Eugénie, and Geneviève Thibault. 1926. Un Chansonnier de Philippe le Bon. Revue de Musicologie, 10: . pp. None.
Chichmaref, V (ed.) [1909]. Guillaume de Machaut: Poésies lyriques. Edition compléte en deux parties, avec introduction, glossaire et fac-similés publiée sous les auspices de la Faculté d'Histoire et de Philologie de Saint-Pétersbourg. Paris: Champion. pp. 2:497-98.
Hoppin, Richard H. 1978. Medieval Music. New York: W. W. Norton. pp. 134-39, 413, no. 61.
Allorto, Riccardo (ed.) 1983. Antologia storica della musica Vol.1: Dai Greci al Rinascimento. Milan: Ricordi. pp. 33-34, 157.
Wimsatt, James I. 1991. Chaucer and His French Contemporaries: Natural Music in the Fourteenth Century. Toronto, Buffalo, and London: University of Toronto Press,. pp. 130-31.
Günther, Ursula. 1958. The fourteenth-century motet and its development. Musica Disciplina, 12: 27-58. pp. 30, 32.
Reichert, Georg. 1956. Das Verhältnis zwischen musikalischer und textlicher Struktur in den Motetten Machauts. Archiv für Musikwissenschaft, 13: 197-216. pp. 201, 212.
Ziino, Agostino. 1978. Isoritmia musicale e tradizione metrica mediolatina nei motetti di Guillaume de Machaut. Medioevo Romanzo, 5: 438-465. pp. 447.
Sanders, Ernest (ed.) 1973. The Medieval Motet. Gattungen der Musik in Einzeldarstellungen. Gedenkschrift Leo Schrade, 497-575. Bern. pp. 557 n.257.
Sanders, Ernest. 1980. Isorythm. The New Grove Dictionary of Music and Musicians , 351-354. pp. 352.
Clarkson, George Austin E. 1970. On the Nature of Medieval Song: The Declamation of Plainchant and the Lyric Structure of the Fourteenth-Century Motet. PhD Dissertation, Columbia University. pp. 239, 248.
Patch, Howard Rollin. 1923. Fortuna in Old French Literature. Smith College Studies in Modern Languages, 4/4: 1-45. pp. 23 n.91.
Calin, William. 1971. A Reading of Machaut's Jugement dou Roy de Navarre. Modern Language Review, 66: 294-197. pp. 244.
Kelly, Douglas. 1978. Medieval Imagination. Rhetoric and the Poetry of Courtly Love. Madison: University of Wisconsin Press. pp. 284 n.50.
Matthews, Harry. 1982. The Monkey at the Wheel. Parnassus: Poetry in Review, 10: 20-44. pp. None.
Markstrom, Kurt. 1989. Machaut and the Wild Beast. Acta Musicologica, 61: 12-39. pp. 32 n.96.
Brownlee, Kevin. 1991. Machaut's Motet 15 and the Roman de la Rose: The Literary Context of Amours qui a le pouoir / Faus Semblant m'a deceü / Vidi Dominum. Early Music History, 10: 1-14. pp. 14.
Woodrow Hassel Jr., James. 1982. Middle French Proverbs, Sentences and Proverbial Phrases. Subsidia Mediaevalia. Toronto: Pontifical Institute of Mediaeval Studies. pp. F132.
Kittredge, George Lyman. 1915. Guillaume de Machaut and the Book of the Duchess. Publications of the Modern Language Association of America, 30: 1-24. pp. 10-12.
Wimsatt, James I. 1968. Chaucer and the French Love Poets: the Literary Background of the Book of the Duchess. University of North Carolina Studies in Comparative Literature. Chapel Hill: University of North Carolina Press. pp. 159-60.
Wimsatt, James I. 1979. Chaucer, Fortune, and Machaut's 'Il m'est avis'. Chaucerian Problems and Perspectives: Essays Presented to Paul E. Beichner C.S.C., 119-131. edited by Edward Vasta and Zacharias Thundy, Notre Dame, Ind.: University of Notre Dame Press. pp. 123.
Schrade, Leo (ed.) 1954 -1956. The Polyphonic Music of the Fourteenth Century. 3 vols. pp. 2:134-136.
Schrade, Leo (ed.) 1957. Complete Works of Guillaume de Machaut (II): Motets No. 17 to 24, Mass, Double Hoquet, Ballades, Rondeaux, Virelais. Polyphonic Music of the Fourteenth Century. Monaco: Éditions de l'Oiseau-Lyre. pp. 79-80.
Brandt, William, William Christ, and Arthur Corra (eds.) 1980. he Comprehensive Study of Music. Vol. 1, Anthology of Music from Plainsong through Gabrieli. New York: Harper's College Press. pp. 62-66.
Machabey, Armand. 1955. Guillaume de Machault 130?-1377: La vie et lœuvre musical,. Bibliothèque d'Etudes Musicales. 2 vols. Paris: Richard-Masse. pp. 2:80-82.
Crocker, Richard L. 1967. A new source for medieval music theory. Acta Musicologica, 39: . pp. 122.
Hughes, Andrew. 1989. Style and Symbol. Medieval Music: 800-1453. Musicological Studies. Ottawa: Institute of Medieval Music. pp. 355-57.
Danckwardt, Marianne. 1993. Möglichkeiten dreistimmigen Komponierens bei Guillaume de Machaut. De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper; Helmut Hucke zum 60. Geburtstag, Musikwissenschaftliche Publikationen, Hochschule für Musik und darstellende Kunst Frankfurt/Main. edited by Peter Cahn and Ann-Katrin Heimer, 372-382. Hildesheim, Zürich, and New York: Olms. pp. 372-74, 381-82.
Günther, Ursula. 1957. Der musikalische Stilwandel der französischen Liedkunst in der zweiten Hälfte des 14. Jahrhunderts, dargestellt an Virelais, Balladen und Rondeaux von Guillaume de Machaut sowie datierbaren Kantilenensätzen seiner Zeitgenossen und dierekten Nachfolger. Ph.D. dissertation, University of Hamburg. pp. 138-39.
Leech-Wilkinson, Daniel. 1982-83. Related motets from fourteenth-century France. Proceedings of the Royal Musical Association, 109: 1-22. pp. 17.
Schrade, Leo (ed.) 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. pp. (2), 134-136.
Machabey, Armand. 1957. Problèmes de notation musicale: notations médiévales des manuscrits d’Évreux. Mélanges de linguistique et de littérature romanes à la mémoire d’István Frank, 361-387. Saarbrücken. pp. 497.
[No Author] 1968. Study Scores of Musical Styles. New York: McGraw-Hill. pp. no. 27, 45-48.
Lerch, Irmgard. 1987. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spätmittelalterlicher Polyphonie. Göttinger Musikwissenschaftliche Arbeiten. 2 vols. Kassel: Bärenreiter. pp. 1:115-18,1:202,2:216-19.
Patch, Howard Rollin. 1927. The Goddess Fortuna in Mediaeval Literature. Cambridge, Mass.: Harvard University Press. pp. 50 n.2, 56 n.2, 65,101 n.4,119 n.1.
Ludwig, Friedrich (ed.) 1926-9. Guillaume de Machaut: Musikalische Werke, 1-3. Leipzig: Publikationen älterer Musik. pp. 2:60a, 3:30-32, 78.
Harrison, Frank Llewellyn (ed.) 1968. Motets of French provenance. Polyphonic Music of the Fourteenth Century. Monaco: Éditions de l'Oiseau-Lyre. pp. 62-65 no.10116-27.
Leech-Wilkinson, Daniel. 1989. Compositional Techniques in the Four-Part Isorhythmic Motets of Philippe de Vitry and his Contemporaries. 2 vols. New York: Garland. pp. 1:199-200,2:94-95.