Aluas, Luminita Florea. “The Quatuor principalia musicae: A Critical Edition and Translation.” Ph.D. diss., Indiana University, 1996.
Ambros, August. Geschichte der Musik. 5 vols. Leipzig, 1862–82.
Apel, Willi. “Remarks about the Isorhythmic Motet.” In Collaer, Les colloques de Wégimont II, 139–48.
Apel, Willi. The Notation of Polyphonic Music, 900–1600. Cambridge, Mass.: The Mediaeval Academy of America, 1942.
Archer, Gleason L. Jr., ed. Jerome’s Commentary on Daniel. Grand Rapids: Baker Book House, 1958.
Armstrong, Regis J., J. A. Wayne Hellmann, and William J. Short, eds. Francis of Assisi: Early Documents. 3 vols. New York: New City Press, 2001.
Bailbé, Joseph-Marc. “Texte et images musicales: Berlioz, Grandville, Erik Satie.” In Usages de l’image au XIXe siècle, edited by Stéphane Michaud, Jean-Yves Mollier, and Nicole Savy, 223–34. Paris: Créaphis, 1992.
Bain, Jennifer. “‘…et mon commencement ma fin’: Genre and Machaut’s Musical Language in his Secular Songs.” In A Companion to Guillaume de Machaut, edited by Jennifer Bain and Deborah McGrady, 79–84. Leiden and Boston: Brill, 2012.
Bent, Margaret. “Deception, Exegesis, and Sounding Number in Machaut’s Motet 15.” Early Music History 10 (1991): 15–27.
Bent, Margaret. “The Earliest Fifteenth-Century Transmission of English Music to the Continent.” In Essays on the History of English Music in Honour of John Caldwell: Sources, Style, Performance, Historiography, edited by Emma Hornby and David Maw, 83–96. Woodbridge: Boydell & Brewer, 2010.
Bent, Margaret. “Fauvel and Marigny: Which Came First?” In Bent and Wathey, Fauvel Studies, 35–52.
Bent, Margaret. “The Myth of tempus perfectum diminutum in the Chantilly Manuscript.” In A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex, edited by Yolanda Plumley and Anne Stone, 203–27. Bibliothèque du Château de Chantilly 564. Turnout: Brepols, 2009.
Bent, Margaret. “A Note on the Dating of the Trémoïlle Manuscript.” In Beyond the Moon: Festschrift Luther Dittmer, edited by Luther A. Dittmer, Bryan Gillingham, and Paul Merkley, 217–42. Ottawa: Institute of Mediaeval Music, 1990.
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 Pesce, Hearing the Motet, 82–103.
Bent, Margaret. “The Progeny of Old Hall: More Leaves from a Royal English Choirbook.” In Gordon Athol Anderson, 1929–1981: In memoriam von seinen Studenten, Freunden und Kollegen, 1–54. Henryville: Institute of Mediaeval Music, 1984.
Bent, Margaret. “Reflections on Christopher Page’s Reflections.” Early Music 21, no. 4 (1993): 625–33.
Bent, Margaret. “Songs Without Music in Dante’s De vulgari eloquentia: cantio and related terms.” In “Et facciam dolçi canti”: Studi in onore di Agostino Ziino in occasione del suo 65° compleanno, edited by Bianca Maria Antolini, Teresa M. Gialdroni, and Annunziato Pugliese, vol. I, 161–81. Lucca: Libreria Italiana Musicale (LIM), 2004.
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 Louis Nádas, 121–43. Middleton: American Institute of Musicology, 2008.
Bent, Margaret. “Words and Music in Machaut’s ‘Motet 9’.” Early Music 31, no. 1 (2003): 363–88.
Bent, Margaret., ed. Two 14th-Century Motets in Praise of Music. Newton Abbot: Antico Edition, 1977.
Bent, Margaret, and Andrew Wathey. “Vitry, Philippe de.” In The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, 29 vols., 2nd edn., vol. XXVI, 803–13. London: Macmillan, 2001.
Bent, Margaret, and Andrew Wathey., eds. Fauvel Studies: Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146. Oxford: Clarendon, 1998.
Bersuire, Pierre. Reductorii moralis Petri Berchiorii Pictaviensis ordinis divi Benedicti libri quattuordecim… Venice: Gasparo Bindoni, 1589.
Bertalot, Ludwig. Humanistisches Studienheft eines Nürnberger Scholaren aus Pavia (1460). Berlin: Weidmannsche Buchhandlung, 1910.
Besseler, Heinrich. “Studien zur Musik des Mittelalters I: Neue Quellen des 14. und beginnenden 15. Jahrhunderts.” Archiv für Musikwissenschaft 7 (1925): 167–252.
Besseler, Heinrich. “Studien zur Musik des Mittelalters II: Die Motette von Franko von Köln bis Philipp von Vitry.” Archiv für Musikwissenschaft 8, no. 2 (1927): 137–258.
Bildhauer, Bettina, and Robert Mills. The Monstrous Middle Ages. Toronto and Buffalo: University of Toronto Press, 2003.
Blachly, Alexander. “À Propos Ma fin est mon commencement and Tout par compas: Two Canonic Rondeaux from Reims.” In “Qui musicam in se habet”: Essays in Honor of Alejandro Planchart, edited by Anna Zayaruznaya and Stanley Boorman. American Institute of Musicology, forthcoming.
Boccaccio, Giovanni. Tutte le opere. Edited by Vittore Branca. 10 vols. Milan: Mondadori, 1964–99.
Boethius. De institutione musica. Edited by Giovanni Marzi. Rome: Instituto Italiano per la Storia della Musica, 1990.
Boogaart, Jacques. “Encompassing Past and Present: Quotations and their Function in Machaut’s Motets.” Early Music History 20 (2001): 1–86.
Boogaart, Jacques. “Love’s Unstable Balance, Part I: Analogy of Ideas in Text and Music of Machaut’s Motet 6.” Muziek & Wetenschap 3 (1993): 3–23.
Boogaart, Jacques. “Love’s Unstable Balance, Part II: More Balance Problems and the Order of Machaut’s Motets.” Muziek & Wetenschap 3 (1993): 24–33.
Boogaart, Jacques. “O series summe rata. Die motetten van Guillaume de Machaut; De ordening van het corpus en de samenhang van tekst en muziek.” Ph.D. diss., University of Utrecht, 2001.
Bowers, Roger. “Guilllaume de Machaut and His Canonry of Reims, 1338–1377.” Early Music History 23 (2004): 1–48.
Bradley, Catherine. “Why Choose An Unpopular Tenor? Combining Plainchant and Vernacular Song Techniques.” Forthcoming in the proceedings of the 2013 Southampton ars antiqua conference, ed. Catherine Bradley and Mark Everist.
Brink, Charles Oscar, ed. Horace on Poetry. 3 vols. Cambridge University Press, 1971.
Brongersma, Leo Daniël. European Atlantic Turtles. Leiden: Brill, 1972.
Brown, Thomas. “Another Mirror for Lovers? Order, Structure and Allusion in Machaut’s Motets.” Plainsong and Medieval Music 10 (2001): 121–33.
Brownlee, Kevin. “Guillaume de Machaut’s Remède de Fortune: The Lyric Anthology as Narrative Progression.” In The Ladder of High Designs: Structure and Interpretation of the French Lyric Sequence, edited by Doranne Fenoaltea and David Lee Rubin, 1–25. Charlottesville: University Press of Virginia, 1991.
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.
Brownlee, Kevin. Poetic Identity in Guillaume de Machaut. Madison: University of Wisconsin, 1984.
Bruns, Gerald. “The Hermeneutics of Allegory and the History of Interpretation,” Comparative Literature 40, No. 4 (1988): 384–95.
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 8th edn. New York: W.W. Norton, 2010.
Burrow, John A. “The Portrayal of Amans in Confessio Amantis.” In Minnis, Gower’s “Confessio amantis,” 5–24.
Busse Berger, Anna Maria. Medieval Music and the Art of Memory. Berkeley: University of California Press, 2005.
Butterfield, Ardis. The Familiar Enemy: Chaucer, Language, and Nation in the Hundred Years War. Oxford and New York: Oxford University Press, 2009.
Butterfield, Ardis. “The Refrain and the Transformation of Genre in the Roman de Fauvel.” In Bent and Wathey, Fauvel Studies, 105–59.
Butterfield, Matthew. “The Musical Object Revisited.” Music Analysis 21, no. 3 (2002): 327–80.
Camille, Michael. The Gothic Idol: Ideology and Image-Making in Medieval Art. Cambridge New Art History and Criticism. Cambridge University Press, 1989.
Camille, Michael. “Hybridity, Monstrosity, and Bestiality in the Roman de Fauvel.” In Bent and Wathey, Fauvel Studies, 105–59.
Camille, Michael. “The Image and the Self: Unwriting Late Medieval Bodies.” In Framing Medieval Bodies, edited by Sarah Kay and Miri Rubin, 62–99. Manchester and New York: Manchester University Press, 1994.
Carpenter, Patricia. “The Musical Object.” Current Musicology 5 (1967): 56–87.
Carruthers, Mary. The Book of Memory: A Study of Memory in Medieval Culture. Cambridge University Press, 1990.
Carruthers, Mary. The Experience of Beauty in the Middle Ages. Oxford University Press, 2013.
Carruthers, Mary, and Jan M. Ziolkowski, eds. The Medieval Craft of Memory: An Anthology of Texts and Pictures. Philadelphia: University of Pennsylvania Press, 2002.
Caviness, Madeline Harrison. “No Laughing Matter: Imag(in)ing Chimeras and Freaks Around 1300.” In Magistro et amico: amici discipulique; Lechowi Kalinowskiemu w osiemdziesieciolecie urodzin, 87–100. Kraków: Wydawnictwo Uniwersytetu Jagiellonskiego, 2002.
Cerquiglini-Toulet, Jacqueline. “‘Ma fin est mon commencement’: The Essence of Poetry and Song in Guillaume de Machaut.” In A Companion to Guillaume de Machaut, edited by Jennifer Bain and Deborah McGrady, 69–78. Leiden and Boston: Brill, 2012.
Cerquiglini-Toulet, Jacqueline. A New History of Medieval French Literature. Translated by Sara Preisig. Baltimore: The Johns Hopkins University Press, 2011.
Chailley, Jacques. Suite sans pretention pour M. de Molière, pour flûte, hautbois, clarinette et basson. Paris: Lemoine, 1982.
Chorle Lumen. Guillaume de Machaut, Pierre Abailard. Vinyl 78 rpm, Lumen 3.22015 (1949).
Clark, Alice V. “Concordare cum materia: The Tenor in the Fourteenth-Century Motet.” Ph.D. diss., Princeton University, 1996.
Clark, Alice V.. “Listening to Machaut’s Motets.” The Journal of Musicology 21, no. 4 (2004): 487–513.
Clark, Alice V.. “New Tenor Sources for Fourteenth-Century Motets.” Plainsong and Medieval Music 8, no. 2 (1999): 107–31.
Collaer, Paul, ed. Les colloques de Wégimont II: L’ars nova – Recueil d’études sur la musique du XIVe siècle. Bibliothèque de la Faculté de Philosophie et Lettres de L’Université de Liège. Paris: Belles Lettres, 1959.
Comestor, Petrus. Historia scholastica. Patrologia Latina, edited by Jacques-Paul Migne, vol. CXCVIII, cols. 1049–722. Paris, 1855.
Condé, Jean le. “Li dis des estas dou monde.” In Dits et contes de Baudouin de Condé et de son fils Jean de Condé, ed. Aug. Scheler, 3 vols., II:371–80. Brussels: Victor Devaux, 1866–67.
Cook, Albert S., ed. The Art of Poetry: The Poetical Treatises of Horace, Vida, and Boileau. Boston: Ginn & Company, 1892.
Coussemaker, Charles-Edmond-Henri de. Histoire de l’harmonie au moyen âge. Paris, 1852.
Coussemaker, Charles-Edmond-Henri de. Notice sur les collections musicales de la Bibliothèque de Cambrai et des autres villes du Département du Nord. Paris, 1843.
Coussemaker, Charles-Edmond-Henri de., ed. Scriptorum de musica medii ævi novam seriem a Gerbertina alteram collegit nuncque primum. 4 vols. Paris: Durand, 1864–76; reprinted Hildesheim: Olms, 1963.
Cumming, Julie. The Motet in the Age of Du Fay. Cambridge and New York: Cambridge University Press, 1999.
Cuthbert, Michael Scott. “Tipping the Iceberg: Missing Italian Polyphony from the Age of Schism.” Musica Disciplina 54 (2009): 39–75.
Cuthbert, Michael Scott. “Trecento Fragments and Polyphony Beyond the Codex.” Ph.D. diss., Harvard University, 2006.
Dahlhaus, Carl. “Exemplum classicum und klassisches Werk.” In Epochenschwelle und Epochenbewusstsein, edited by Reinhart Herzog and Reinhart Koselleck, 591–94. Munich: Fink, 1987.
Dante Alighieri. Il Convivio. Edited by Gian Carlo Garfagnini. Rome: Salerno, 1997.
Dante Alighieri. The “Convivio.” Translated by Richard H. Lansing. New York and London: Garland, 1990.
Dante Alighieri. Inferno. Edited and translated by Robert M. Durling. New York: Oxford University Press, 1997.
Davis, David J. Seeing Faith, Printing Pictures: Religious Identity during the English Reformation. Leiden and Boston: Brill, 2013.
Davis, Steven. “Guillaume de Machaut, Chaucer’s Book of the Duchess, and the Chaucer Tradition. The Chaucer Review 36, no 4 (2002): 391–405.
Dean, James M. The World Grown Old in Later Medieval Literature. Cambridge, Mass.: Medieval Academy of America, 1997.
Deguileville, Guillaume de. Le pèlerinage de l’âme. Edited by J. J. Stürzinger. The Roxburghe Club. Westminster: Nichols & Sons, 1895.
Deschaux, Robert. “Le lai et la complainte.” In La littérature française aux XIVe et XVe siècles, edited by Daniel Poirion, Armin Biermann, and Dagmar Tillmann-Bartylla, 70–85. Heidelberg: Winter Universitätsverlag, 1988.
Desmond, Karen. “Did Vitry Write an Ars vetus et nova?” Journal of Musicology 32, no. 4 (forthcoming 2015).
Desmond, Karen.“Behind the Mirror: Revealing the Contexts of Jacobus’s Speculum musicae.” Ph.D. diss., New York University, 2009.
Di Scipio, Giuseppe. “Old Man of Crete.” In The Dante Encyclopedia, edited by Richard H. Lansing, 658–59. New York: Garland, 2010.
Diehr, Achim. Speculum Corporis: Körperlichkeit in der Musiktheorie des Mittelalters. Kassel: Bärenreiter, 2000.
Diekstra, F. N. M. “The Poetic Exchange Between Philippe de Vitry and Jean de le Mote: A New Edition.” Neophilologus 70 (1986): 504–19.
Dillon, Emma. Medieval Music-Making and the “Roman De Fauvel.” Cambridge University Press, 2002.
Dillon, Emma. “The Profile of Philip V in the Music of Fauvel.” In Bent and Wathey, Fauvel Studies, 215–31.
Dillon, Emma. The Sense of Sound: Musical Meaning in France, 1260–1330. New York: Oxford University Press, 2012.
Dorsch, Theodor S., ed. and trans. Classical Literary Criticism. Harmondsworth: Penguin, 1965.
Douglas, Lawrence. Songs of the Women Trouvères. New Haven: Yale University Press, 2001.
Douglas, Mary. Purity and Danger: An Analysis of Concepts of Pollution and Taboo. London: Routledge & Kegan Paul, 1966.
Dragonetti, Roger. La technique poétique des trouvères dans la chanson courtoise; contribution à l’étude de la rhétorique médiévale. Bruges: De Tempel, 1960.
Dreves, Guido Maria, and Clemens Blume, eds. Analecta Hymnica Medii Aevi. 55 vols. Leipzig: Fues’s Verlag, 1886–1922.
Du Fay, Guillaume. Opera Omnia. Edited by Guillaume de Van and Heinrich Besseler. Corpus mensurabilis musicae I. Neuhausen-Stuttgart: American Institute of Musicology, 1948–66.
Duby, Georges. The Three Orders: Feudal Society Imagined. Translated by Arthur Goldhammer. University of Chicago Press, 1980.
Durling, Robert M., and Ronald L. Martinez. Time and the Crystal: Studies in Dante’s Rime petrose. Berkeley: University of California Press, 1990.
Earp, Lawrence. Guillaume de Machaut: A Guide to Research. Garland Research Manuals. New York and London: Garland, 1995.
Eggebrecht, Hans Heinrich. “Machauts Motette Nr. 9.” Archiv für Musikwissenschaft 19/20, nos. 3–4 (1962–63): 281–93.
Eggebrecht, Hans Heinrich. “Machauts Motette Nr. 9. Teil II.” Archiv für Musikwissenschaft 25, no. 3 (1968): 173–95.
Einstein, Alfred. “The Conflict of Word and Tone.” Translated by Ernest Sanders. The Musical Quarterly 40, no. 3 (1954): 329–49.
Ellsworth, Oliver B., ed. The Berkeley Manuscript: University of California Music Library, ms. 744 (olim Phillipps 4450). Lincoln: University of Nebraska Press, 1984.
Everist, Mark. French Motets in the Thirteenth Century: Music, Poetry, and Genre. Cambridge and New York: Cambridge University Press, 1994.
Everist, Mark. “Motets, French Tenors, and the Polyphonic Chanson ca. 1300.” The Journal of Musicology 24 (2007): 365–406.
Ferrand, Françoise. “Aux frontières de l’écriture de la narration et du lyrisme, la complainte.” In Sammlung – Deutung – Wertung: Ergebnisse, Probleme, Tendenzen und Perspektiven philologischer Arbeit; Melanges de littérature médiévale et de linguistique allemande offerts à Wolfgang Spiewok à l’occasion de son soixantième anniversaire par ses collègues et amis, edited by Danielle Buschinger, 101–17. Amiens: Université de Picardie, Centre d’Études Médiévales, 1988.
Ferrier, Janet M. Review of Le songe du vieil pelerin by Philippe de Mézières, edited by G. W. Coopland. The Modern Language Review 65 (1970): 620–22.
Ficker, Rudolf von. “Polyphonic Music of the Gothic Period.” Musical Quarterly 15, no. 4 (1929): 483–505.
Fisher, John H. John Gower: Moral Philosopher and Friend of Chaucer. London: Methuen, 1965.
Fitzgerald, William. Martial: The World of the Epigram. University of Chicago Press, 2007.
Florea, Luminita. “The Body Animal and Human as a simile: Aristotelian and Galenic Anatomy in Late Medieval Books of Music Theory and Practice, ca. 1200–1350.” Philobiblon: Transylvanian Journal of Multidisciplinary Research in the Humanities 10–11 (Cluj, Romania: Babes-Bolyai University Press, 2006): 74–123.
Franco of Cologne. Ars cantus mensurabilis. Edited by Gilbert Reaney and André Gilles. CSM 18. [Rome]: American Institute of Musicology, 1974.
Freddell, Joel. “Reading the Dream Miniature in the Confessio amantis.” Medievalia et humanistica 22 (1995): 61–93.
Friis-Jensen, Karsten. “The Reception of Horace in the Middle Ages.” In The Cambridge Companion to Horace, edited by Stephen Harrison, 291–304. Cambridge University Press, 2007.
Frischer, Bernard. Shifting Paradigms: New Approaches to Horace’s Ars poetica. American Classical Studies 27. Atlanta: Scholars Press, 1991.
Gallo, Alberto. Music of the Middle Ages II. Translated by Karen Eales. Cambridge University Press, 1985.
Gerbert, Martin, ed. Scriptores ecclesiastici de musica sacra potissimum. 3 vols. St. Blaise: Typis San-Blasianis, 1784; reprint edn., Hildesheim: Olms, 1963.
Gittes, Tobias Foster. Boccaccio’s Naked Muse: Eros, Culture, and the Mythopoeic Imagination. University of Toronto Press, 2008.
Goehr, Lydia. The Imaginary Museum of Musical Works. Oxford: Clarendon Press, 1992.
Golden, Leon, and O. Hardison. Horace for Students of Literature: The “Ars poetica” and Its Tradition. Gainesville: University Press of Florida, 1995.
Golden Carlson, Rachel. “Two Paths to Daniel’s Mountain: Poetic-Musical Unity in Aquitanian Versus.” The Journal of Musicology 23, no. 4 (2006): 620–46.
Gower, John. Confessio amantis. Edited by Russell A. Peck. TEAMS Middle English Text Series. Kalamazoo: Medieval Institute Publications, 2000; Second Edition, 2006.
Grau, Anna Kathryn. “Hearing Voices: Heteroglossia, Homoglossia and the Old French Motet.” Musica Disciplina 58 (2013): 73–100.
Greenberg, Nathan A. “The Use of Poiema and Poiesis.” Harvard Studies in Classical Philology 65 (1961): 263–89.
Greene, Gordon K. French Secular Music: Manuscript Chantilly, Musée Condé 564, First Part. Polyphonic Music of the Fourteenth Century 18. Monaco: Éditions de l’Oiseau-lyre, 1981.
Gregory I. Moralium libri, sive expositio in librum beati Job. Patrologia Latina, edited by Jacques-Paul Migne, vol. LXXV, cols. 509–1162. Paris, 1862.
Grieg, Donald. “Ars Subtilior Repertory as Performance Palimpsest.” Early Music 31, no. 2 (2003): 196–209.
Griffiths, Jeremy. “Confessio amantis: The Poem and its Pictures.” In Minnis, Gower’s Confessio Amantis, 163–78.
Grignaschi, Mario. “La Définition du ‘civis’ dans la scolastique.” Anciens pays et assemblées d’états 35 (1966): 71–100.
Grocheio, Johannes de. Ars musice. Edited and translated by Constant J. Mews, John N. Crossley, Catherine Jeffreys, Leigh McKinnon, and Carol J. Williams. Kalamazoo: Medieval Institute Publications, 2011.
Guest, Gerald B., ed. Bible moralisée: Codex Vindobonensis 2554, Vienna, Österreichische Nationalbibliothek. London: Harvey Miller, 1995.
Günther, Ursula. “The 14th-Century Motet and its Development.” Musica Disciplina 12 (1958): 27–58.
Günther, Ursula. “Fourteenth-century Music with Texts Revealing Performance Practice,” in Studies in the Performance of Late Medieval Music, edited by Stanley Boorman, 253–70. Cambridge University Press, 1983.
Günther, Ursula. “Sinnbezüge zwischen Text und Musik in Ars nova und Ars subtilior,” in Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts: Vorträge des Gastsymposions in der Herzog August Bibliothek, Wolfenbüttel, 8. bis 12. September 1980, edited by Ursula Günther and Ludwig Finscher, 229–68. Kassel: Bärenreiter, 1984.
Günther, Ursula., ed. The Motets of the Manuscripts Chantilly, Musée condé, 564 (olim 1047) and Modena, Biblioteca estense, a. M. 5, 24 (olim lat. 568). Corpus mensurabilis musicae 39. Rome: American Institute of Musicology, 1965.
Haas, Max. Musikalisches Denken im Mittelalter: Eine Einführung. Bern: Peter Lang, 2005.
Haggh, Barbara, and Michel Huglo. “Magnus liber – Maius munus.” Revue de Musicologie 90, no. 2 (2004): 193–230.
Haines, John, and Patricia DeWitt. “Johannes de Grocheio and Aristotelian Natural Philosophy.” Early Music History 27 (2008): 47–98.
Hanslick, Eduard. The Beautiful in Music: A Contribution to the Revisal of Musical Aesthetics. Translated by Gustav Cohen. 7th edition. Vienna, 1891.
Harrán, Don. Word–Tone Relations in Musical Thought: From Antiquity to the Seventeenth Century. Musicological Studies and Documents 40. Stuttgart: American Institute of Musicology/Hänssler Verlag, 1986.
Harrison, Frank Llewellyn. “Ars Nova in England: A New Source.” Musica Disciplina 21 (1967): 67–85.
Harrison, Frank Llewellyn., ed. Motets of French Provenance. Polyphonic Music of the Fourteenth Century 5. Monaco: Éditions de l’Oiseau-Lyre, 1968.
Harrison, Frank Llewellyn., ed. Musicorum collegio: Six Fourteenth-Century Musicians’ Motets. Monaco: Editions de l’Oiseau-Lyre, 1986.
Harveng, Philip of. De somnio regis Nabuchodonosor. Patrologia Latina, edited by Jacques-Paul Migne, vol. CCIII, cols. 585–92. Paris, 1855.
Hassig, Debra. Medieval Bestiaries: Text, Image, Ideology. Cambridge University Press, 1995.
Heckenbach, Willibrord. “Das mittelalterlichen Reimoffizium ‘Praeclarum late,’ zu den Festen das Heiligen Benedict.” In Itinera Domini: Festschrift für Emmanuel von Severus OSB zum 80. Geburtstag, edited by Emmanuel V. Severus, 189–210. Münster: Aschendorff, 1988.
Hilton, Rodney. Class Conflict and the Crisis of Feudalism: Essays in Medieval Social History. London and Ronceverte: Hambledon Press, 1985.
Holford-Strevens, Leofranc. “Sirens in Antiquity and the Middle Ages.” In Music of the Sirens, edited by Linda Phyllis Austern and Inna Naroditskaya, 16–51. Bloomington: Indiana University Press, 2006.
Holsinger, Bruce. Music, Body, and Desire in Medieval Culture: Hildegard of Bingen to Chaucer. Stanford University Press, 2001.
Honorius Augustodunensis. Speculum Ecclesiae. Patrologia Latina, edited by Jacques-Paul Migne, vol. CLXXII, cols. 807–1107. Paris, 1854.
Hoppin, Richard H., and Suzanne Clercx. “Notes biographiques sur quelques musiciens français du XIVe siècle.” In Collaer, Les colloques de Wégimont II, 63–92.
Horace. Satires, Epistles, and Ars poetica. Translated by H. Rushton Fairclough. Rev. edn. Cambridge and London: Harvard University Press, 1999.
Hughes, Andrew. “Chants in the Rhymed Office of St. Thomas of Canterbury.” Early Music 16 (1988): 185–201.
Huot, Sylvia. Allegorical Play in the Old French Motet: The Sacred and the Profane in Thirteenth-Century Polyphony. Stanford University Press, 1997.
Huot, Sylvia. From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry. Ithaca and London: Cornell University Press, 1987.
Ingledew, Francis. “The Book of Troy and the Genealogical Construction of History: The Case of Geoffrey of Monmouth’s Historia regum Britanniae.” Speculum 69, no. 3 (1994): 665–704.
Jacobs, Jason. “Galiziella’s Escape: Interconfessional Erotics and Love Between Knights in the Aspremont Tradition.” California Italian Studies 4, no. 2 (2013).
Jacobus. Jacobi Leodiensis Speculum musicae. Edited by Roger Bragard. 7 vols in 8. CSM 3. Rome: American Institute of Musicology, 1955–73.
Jerome. Commentariorum in Danielem Prophetam. Patrologia Latina, edited by Jacques-Paul Migne, vol. XXV, cols. 491–584. Paris, 1845.
Kay, Sarah. Subjectivity in Troubadour Poetry. Cambridge Studies in French. Cambridge and New York: Cambridge University Press, 1990.
Kirkman, Andrew. The Cultural Life of the Early Polyphonic Mass: Medieval Context to Modern Revival. New York: Cambridge University Press, 2010.
Kratz, Reinhard G. “The Visions of Daniel.” In The Book of Daniel: Composition and Reception, edited by John Joseph Collins and Peter W. Flint, 91–113. Leiden: Brill, 2001.
Kügle, Karl. The Manuscript Ivrea, Biblioteca capitolare 115: Studies in the Transmission and Composition of Ars Nova Polyphony. Ottawa: Institute of Mediaeval Music, 1997.
Leach, Elizabeth Eva. Guillaume de Machaut: Secretary, Poet, Musician. Ithaca and London: Cornell University Press, 2011.
Leach, Elizabeth Eva. “‘The Little Pipe Sings Sweetly while the Fowler Deceives the Bird’: Sirens in the Later Middle Ages.” Music & Letters 87, no. 2 (2006): 187–211.
Leach, Elizabeth Eva. Sung Birds: Music, Nature, and Poetry in the Later Middle Ages. Ithaca and London: Cornell University Press, 2007.
Leach, Elizabeth Eva., ed. Machaut’s Music: New Interpretations. Studies in Medieval and Renaissance Music 1. Woodbridge: Boydell Press, 2003.
Leech-Wilkinson, Daniel. Compositional Techniques in the Four-Part Isorhythmic Motets of Philippe de Vitry and His Contemporaries. 2 vols. Outstanding Dissertations in Music From British Universities. New York: Garland, 1989.
Leech-Wilkinson, Daniel. “The Emergence of ars nova.” The Journal of Musicology 13, no. 3 (1995): 285–317.
Leech-Wilkinson, Daniel. “Machaut’s Rose, lis and the Problem of Early Music Analysis.” Music Analysis 3, no. 1 (1984): 9–28.
Leech-Wilkinson, Daniel. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Cambridge University Press, 2002.
Leech-Wilkinson, Daniel. “Related Motets from Fourteenth-Century France.” Proceedings of the Royal Musical Association 109, no. 1 (1982–1983): 1–22.
Leech-Wilkinson, Daniel. Review of Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146, edited by Margaret Bent and Andrew Wathey. Journal of the American Musicological Society 53, no. 1 (2000): 152–59.
Leech-Wilkinson, Daniel. Rose, lis Revisited.” In Leach, Machaut’s Music, 249–62.
Leibowitz, René. The Grip of the Given, op. 21 (1950–54). Hillsdale: Mobart Music, 1976.
Lerch, Irmgard. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spätmittelalterlicher Polyphonie. 2 vols. Göttinger musikwissenschaftliche Arbeiten 11. Kassel: Bärenreiter, 1987.
Lerch-Kalavrytinos, Irmgard. “Ars Nova-Fragmente in Würzburg.” In Borderline Areas in Fourteenth and Fifteenth-Century Music, edited by Karl Kügle and Lorenz Welker, 119–30. Münster and Middleton: American Institute of Musicology, 2009.
Lewis, Charlton T., and Charles Short. A Latin Dictionary. Oxford: The Clarendon Press, 1962.
Lorris, Guillaume de, and Jean de Meun. Le roman de la Rose. Edited by Félix Lecoy. 3 vols. Paris: Champion, 1965–70.
Lorris, Guillaume de, and Jean de Meun. The Romance of the Rose. Translated by Charles Dahlberg. 3rd edn. Princeton University Press, 1995.
Luce, Siméon. Histoire de la Jacquerie d’après des documents inédits. Paris: Durand, 1859.
Lüdtke, Joachim. “Kleinüberlieferung mehrstimmiger Musik vor 1550 in deutschem Sprachgebiet IV: Fragmente und versprengte Überlieferung des 14. bis 16. Jahrhunderts aus dem mittleren und nördlichen Deutschland.” Nachrichten der Akademie der Wissenschaften in Göttingen, philologisch-historische Klasse 6 (2001): 420–87.
McCulloch, Florence. Medieval Latin and French Bestiaries. Chapel Hill: The University of North Carolina Press, 1962.
Machaut, Guillaume de. Le confort d’ami [Comfort for a Friend]. Edited and translated by R. Barton Palmer. Garland Library of Medieval Literature 67. New York: Garland, 1992.
Machaut, Guillaume de. Le jugement du roy de Behaigne and Remède de Fortune. Translated by James I. Wimsatt and William W. Kibler. Athens: University of Georgia Press, 1988.
Machaut, Guillaume de. Le livre dou Voir Dit [The Book of the True Poem]. Translated by R. Barton Palmer. Edited by Daniel Leech-Wilkinson. Garland Library of Medieval Literature 106. New York: Garland, 1998.
Mann, Jill. Chaucer and Medieval Estates Satire: The Literature of Social Classes and the General Prologue to the Canterbury Tales. Cambridge University Press, 1973.
Marchetto of Padua. The Lucidarium of Marchetto of Padua: A Critical Edition, Translation, and Commentary. Edited and translated by Jan W. Herlinger. Chicago and London: University of Chicago Press, 1985.
Marchetto of Padua. Pomerium. Edited by Joseph Vecchi. Corpus scriptorum de musica 6. Rome: American Institute of Musicology, 1961.
Margolis, Nadia. “Clerkliness and Courtliness in the Complaintes of Christine de Pizan.” In Christine de Pizan and Medieval French Lyric, edited by Earl Jeffrey Richards, 135–54. Gainesville: University Press of Florida, 1998.
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.
Mézières, Philippe de. Le songe du vieil pèlerin. Edited by G. W. Coopland. 2 vols. Cambridge University Press, 2009.
Michels, Ulrich. “Der Musiktraktat des Anonymus OP: Ein frühes Theoretiker-Zeugnis der Ars nova,” Archiv für Musikwissenschaft 26 (1969): 49–62.
Mills, Robert. “Jesus as Monster.” In Bildhauer and Mills, The Monstrous Middle Ages, 28–54.
Minnis, Alastair J., ed. Gower’s Confessio amantis: Responses and Reassessments. Cambridge: D. S. Brewer, 1983.
Mittman, Asa Simon, and Peter Dendle, eds. The Ashgate Research Companion to Monsters and the Monstrous. Farnham and Burlington: Ashgate, 2012.
Mohl, Ruth. The Three Estates in Medieval and Renaissance Literature. New York: Columbia University Press, 1933.
Mote, Jehan de le. Li regret Guillaume, comte de Hainaut: Poёme inédit du XIVe siècle. Edited by Auguste Scheler. Leuven: J. Lefever, 1882.
Muris, Johannes de. “Summa.” In Scriptores ecclesiastici de musica sacra potissimum, ed. Martin Gerbert, 3 vols., III:190–248. St. Blaise: Typis San-Blasianis, 1784; reprint edn. Hildesheim: Olms, 1963.
Murphy, James J. Three Medieval Rhetorical Arts. 2nd edn. Berkeley: University of California Press, 2001.
Musa, Mark, ed. Dante Alighieri’s Divine Comedy, Vol. 2: Inferno, Commentary. Bloomington: Indiana University Press, 1996.
Newes, Virginia. “Mensural Virtuosity in Non-Fugal Canons c. 1350 to 1450.” In Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History, edited by Katelijne Schiltz and Bonnie Blackburn, 19–46. Leuven: Peeters, 2007.
Newes, Virginia. “Writing, Reading and Memorizing: The Transmission and Resolution of Retrograde Canons from the 14th and Early 15th Centuries.” Early Music 18, no. 2 (1990): 218–34.
Nicholson, Peter. An Annotated Index to the Commentary on Gower’s Confessio Amantis. Binghamton: Medieval & Renaissance Texts & Studies, 1989.
Nosow, Robert. Ritual Meanings in the Fifteenth-Century Motet. Cambridge University Press, 2012.
Oliensis, Ellen. Horace and the Rhetoric of Authority. Cambridge University Press, 1998.
Oresme, Nicole. Le livre des Politiques d’Aristote, published from the Text of the Avranches Manuscript 223, with a Critical Introduction and Notes. Edited by Albert Douglas Menut. American Philosophical Society. Transactions, new ser., v. 60, pt. 6. Philadelphia: The American Philosophical Society, 1970.
Orlando Consort. Philippe de Vitry and the Ars Nova: Fourteenth-Century Motets. Compact Disc. Amon Ra, CD-SAR 49, 1990; reissued as MHS 514429Y, 1997.
Page, Christopher. Discarding Images: Reflections on Music and Culture in Medieval France. New York: Oxford University Press, 1993.
Page, Christopher. “A Reply to Margaret Bent.” Early Music 22 (1994): 127–32.
Page, Christopher. The Summa Musice: A Thirteenth Century Manual for Singers. Cambridge University Press, 1991.
Page, Christopher. “A Treatise on Musicians from ?c. 1400: The Tractatulus de differentiis et gradibus cantorum by Arnulf de St Ghislain.” Journal of the Royal Musical Association 117, no. 1 (1992): 1–21.
Palisca, Claude. Music and Ideas in the Sixteenth and Seventeenth Centuries. Urbana and Chicago: University of Illinois Press, 2006.
Papio, Michael, ed. and trans. Boccaccio’s Expositions on Dante’s Comedy. University of Toronto Press, 2009.
Payne, Thomas B. “Aurelianis civitas: Student Unrest in Medieval France and a Conductus by Philip the Chancellor.” Speculum 75, no. 3 (2000): 589–614.
Peck, Russell A. “John Gower and the Book of Daniel.” In John Gower, Recent Readings: Papers Presented at the Meetings of the John Gower Society at the International Congress on Medieval Studies, Western Michigan University, 1983–1988, edited by R. F. Yeager, 159–87. Kalamazoo: Medieval Institute Publications, 1989.
Peck, Russell A.. “The Politics and Psychology of Governance in Gower: Ideas of Kingship and Real Kings.” In A Companion to Gower, edited by Siân Echard, 215–38. Cambridge: D.S. Brewer, 2004.
Peraino, Judith. Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut. New York: Oxford University Press, 2011.
Pesce, Dolores, ed. Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance. New York and Oxford: Oxford University Press, 1997.
Phan, Chantal. “La tornada et l’envoi: fonctions structurelles et poïétiques.” Cahiers de civilisation médiévale 34 (1991): 57–61.
Pirotta, Nino. “Il codice Estense Lat. 568 e la musica francese in Italia al principia del 1400.” Atti della Reale Accademia di Scienza Lettere e Arti di Palermo 4 (1944–45): 101–58.
Pirotta, Nino. Music and Culture in Italy from the Middle Ages to the Baroque. Cambridge, Mass.: Harvard University Press, 1984.
Plumley, Yolanda. “Playing the Citation Game in the Late 14th-Century Chanson.” Early Music 31, No. 1 (2003): 20–39.
Plumley, Yolanda, and Anne Stone. Codex Chantilly: Bibliothèque du château de Chantilly, Ms. 564; Fac-similé. Collection “Épitome musical.” Turnhout: Brepols, 2008.
Pognon, Edmond. “Du nouveau sur Philippe de Vitri et ses amis.” Humanisme et Renaissance 6 (1939): 48–55.
Pope-Hennessy, John, ed. Paradiso: The Illuminations to Dante’s Divine Comedy by Giovanni di Paolo. New York: Random House, 1993.
Porter, Elizabeth. “Gower’s Ethical Microcosm and Political Macrocosm.” In Minnis, Gower’s Confessio amantis, 135–62.
Rankin, Susan. “The Divine Truth of Scripture: Chant in the Roman de Fauvel.” Journal of the American Musicological Society 47, no. 2 (1994): 203–43.
Reaney, Gilbert, ed. Early Fifteenth-Century Music. 7 vols. Corpus mensurabilis musicae 11. Rome: American Institute of Musicology, 1955–83.
Regalado, Nancy Freeman. “The Chronique metrique and the Moral Design of BN fr.146: Feasts of Good and Evil.” In Bent and Wathey, Fauvel Studies, 467–94.
Reichert, Georg. “Das Verhältnis zwischen musikalischer und textlicher Struktur in den Motetten Machauts.” Archiv für Musikwissenschaft 13, nos. 3–4 (1956): 197–216.
Roberts, Louise Nisbet. “A Chimera is a Chimera: A Medieval Tautology.” Journal of the History of Ideas 21, no. 2 (1960): 273–78.
Robertson, Anne Walters. Guillaume de Machaut and Reims: Context and Meaning in his Musical Works. Cambridge University Press, 2002.
Robertson, Anne Walters. “Which Vitry? The Witness of the Trinity Motet from the Roman de Fauvel.” In Pesce, Hearing the Motet, 52–81.
Roesner, Edward H. “Labouring in the Midst of Wolves: Reading a Group of Fauvel Motets.” Early Music History 22 (2003): 169–245.
Roesner, Edward H., François Avril, and Nancy Freeman Regalado, 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 Brothers, 1990.
Rose-Steel, Tamsyn. “French Ars Nova Motets and their Manuscripts: Citational Play and Material Context.” Ph.D. diss., University of Exeter, 2011.
Sack, Ronald Herbert. Images of Nebuchadnezzar: The Emergence of a Legend. 2nd edition. Cranbury and London: Associated University Presses, 2004.
St. Victor, Richard of. De eruditione hominis interioris libri tres: Occasione accepta ex somnio Nabuchodonosor apud Danielem. Patrologia Latina, edited by Jacques-Paul Migne, vol. CXCVI, cols. 1229–1366. Paris, 1855.
Saint-Cricq, Gaël. “A New Link between the Motet and Trouvère Chanson: The Pedes-cum-cauda Motet.” Early Music History 32 (2013): 179–223.
Saltzstein, Jennifer. The Refrain and the Rise of the Vernacular in Medieval French Music and Poetry. Gallica Series. Cambridge: Boydell & Brewer, 2013.
Sanders, Ernest H. “The Early Motets of Philippe de Vitry.” Journal of the American Musicological Society 28, no. 1 (1975): 24–45.
Sanders, Ernest H.. “The Medieval Motet.” In Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, edited by Leo Schrade, Wulf Arlt, and Higini Anglès, 497–573. Bern: Francke, 1973.
Schrade, Leo. “Philippe de Vitry: Some New Discoveries.” The Musical Quarterly 42, no. 3 (1956): 330–54.
Schrade, Leo., ed. The Roman de Fauvel; The Works of Philippe de Vitry; French Cycles of the Ordinarium Missae. Polyphonic Music of the Fourteenth Century 1. Monaco: editions de l’Oiseau-Lyre, 1956.
Schrade, Leo., ed. The Works of Guillaume de Machaut. Polyphonic Music of the Fourteenth Century 2–3. Monaco: Éditions de l’Oiseau-Lyre, 1956.
Sequentia, directed by Benjamin Bagby. Philippe de Vitry: Motets and Chansons. Compact disc. Deutsche Harmonia Mundi D-7800, 1991.
Sherman, Bernard. Inside Early Music: Conversations with Performers. New York: Oxford University Press, 1997.
Siraisi, Nancy. “The Music of Pulse in the Writings of Italian Academic Physicians (Fourteenth and Fifteenth Centuries).” Speculum 50, no. 4 (1975): 689–710.
Soltész, Elisabeth, ed. Biblia pauperum: Faksimileausgabe des vierzigblättrigen Armenbibel-Blockbuches in der Bibliothek der Erzdiözese Esztergom. Hanau: W. Dausien, [1967].
Sperber, Dan. “Pourquoi les animaux parfaits, les hybrides et les monstres sont-ils bons à penser symboliquement?” L’Homme 15, no. 2 (1975): 5–24.
Sperber, Dan. “Why are perfect animals, hybrids, and monsters food for symbolic thought?” In Method & Theory in the Study of Religion 8, no. 2 (1996): 143–69.
Steinhauser, Kenneth B. “Narrative and Illumination in the Beatus Apocalypse.” The Catholic Historical Review 81, no. 2 (1995): 185–210.
Stevens, Denis. “Music in Honor of St. Thomas of Canterbury.” The Musical Quarterly 56, no. 3 (1970): 311–48.
Stoessel, Jason. “The Captive Scribe: The Context and Culture of Scribal and Notational Process in the Music of the ars subtilior.” Ph.D. diss., University of New England, 2002.
Stone, Anne. “The Composer’s Voice in Late-Medieval Song: Four Case-Studies.” In Johannes Ciconia: Musicien de la transition, edited by Philippe Vendrix, 169–94. Turnhout: Brepols, 2003.
Strohm, Reinhard. “Looking Back at Ourselves: The Problem with the Musical Work-Concept.” In Talbot, The Musical Work, 128–52.
Strohm, Reinhard. The Rise of European Music, 1380–1500. Cambridge and New York: Cambridge University Press, 1993.
Strubel, Armand, ed. Le roman de Fauvel. Paris: Librairie Générale Française, 2012.
Suso, Henry. Horologium Sapientiae. Edited by Pius Künzle. Fribourg: Universitätsverlag, 1977.
Suso, Henry. Wisdom’s Watch Upon the Hours. Translated by Edmund Colledge. Washington: Catholic University of America Press, 1994.
Sweeney, Cecily, ed. Anonymous: De musica mensurabili. CSM 13. [Rome]: American Insitute of Musicology, 1971.
Talbot, Michael, ed. The Musical Work: Reality or Invention? Liverpool University Press, 2000.
Taruskin, Richard. The Oxford History of Western Music. 5 vols. Oxford and New York: Oxford University Press, 2005.
Taruskin, Richard. “The Pastness of the Present and the Presence of the Past.” In Authenticity and Early Music: A Symposium, edited by Nicholas Kenyon. Oxford and New York: Oxford University Press, 1988.
Taylor, Jane H. M. “The Knight and the Parrot: Writing the Quest at the End of the Middle Ages.” In The Fortunes of King Arthur, edited by Norris J. Lacy, 181–94. Arthurian Studies 64. Cambridge: D.S. Brewer, 2005.
Thorndike, Lynn. A History of Magic and Experimental Science. 8 vols. New York: Columbia University Press, 1923–58.
Throop, Palmer A. “Criticism of Papal Crusade Policy in Old French and Provençal.” Speculum 13, no. 4 (1938): 379–412.
Tischler, Hans, ed. The Montpellier Codex. 4 vols. Researches in the Music of the Middle Ages and Early Renaissance 2–8. Madison: A-R Editions, 1978.
Tomlinson, Gary. “Music and the Claims of Text: Monteverdi, Rinuccini, and Marino.” Critical Inquiry 8 (1982): 565–89.
Trachtenberg, Marvin. “Architecture and Music Reunited: A New Reading of Dufay’s Nuper rosarum flores and the Cathedral of Florence.” Renaissance Quarterly 54, no. 3 (2001): 741–75.
Treitler, Leo. “Response to Patricia Carpenter, ‘The Musical Object’,” Current Musicology 5 (1967): 87–93.
Turner, Charles. “Proportion and Form in the Continental Isorhythmic Motet c. 1385–1450.” Music Analysis 10, no. 1/2 (1991): 89–124.
Verard, Antoine. Le jardin de plaisance et fleur de rethorique: Reproduction en fac-similé de l’édition publiée par Antoine Verard vers 1501. 2 vols. Paris: Société des anciens textes français, 1910.
Vetter, Eddie. “Philippe de Vitry and the Holy Trinity: An Early Manifesto of the Ars Nova.” In Liber amicorum Chris Maas – Essays in Musicology in Honour of Chris Maas on his 65th Anniversary, edited by Rob Wegman and Eddie Vetter, 4–14. Amsterdam: Institute of Musicology, University of Amsterdam, 1987.
Vielle Trio. Music of the Gothic Period and the Early Renaissance. LP Allegro AL 14, 1949.
Vitry, Philippe de. Complete Works. Edited by Leo Schrade, with introduction and notes on performance by Edward H. Roesner. Monaco: Éditions de L’Oiseau-Lyre, 1984.
Wack, Mary Frances. Lovesickness in the Middle Ages: the Viaticum and Its Commentaries. Philadelphia: University of Pennsylvania Press, 1990.
Walberg, Emmanuel, ed. Le bestiaire de Philippe de Thaün. Paris: H. Welter, 1900.
Warren, Charles. “Brunelleschi’s Dome and Dufay’s Motet.” The Musical Quarterly 59 (1973): 92–105.
Wathey, Andrew. “The Marriage of Edward III and the Transmission of French Motets to England.” Journal of the American Musicological Society 45, no. 1 (1992): 1–29.
Wathey, Andrew. “The Motets of Philippe de Vitry and the Fourteenth-Century Renaissance.” Early Music History 12 (1993): 119–50.
Wathey, Andrew. “Philippe de Vitry’s Books.” In Books and Collectors 1200–1700: Essays Presented to Andrew Watson, edited by James P. Carley and Colin G. C. Tite, 145–52. London: The British Library, 1997.
Wegman, Rob. “From Maker to Composer: Improvisation and Musical Authorship in the Low Countries, 1450–1500.” Journal of the American Musicological Society 49, no. 3 (1996): 409–79.
Wegman, Rob. “Sense and Sensibility in Late-Medieval Music: Thoughts on Aesthetics and ‘Authenticity’.” Early Music 23, no. 2 (1995): 299–312.
Wei, Ian P. Intellectual Culture in Medieval Paris: Theologians and the University, c. 1100–1330. New York: Cambridge University Press, 2012.
Werf, Hendrik van der. “Cantus coronatus.” In The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, 29 vols., 2nd edn. (London: Macmillan, 2001), vol. V, 66.
Wetzel, Christoph, ed. Armenbibel: die Bilderhandschrift des Codex Palatinus latinus 871 im Besitz der Biblioteca Apostolica Vaticana. Stuttgart: Belser, 1995.
White, Hugh. “Division and Failure in Gower’s Confessio amantis.” Neophilologus 72, no. 4 (1988): 600–16.
Whitman, Jon. Allegory: The Dynamics of an Ancient and Medieval Technique. Cambridge, Mass.: Harvard University Press, 1987.
Wilkins, Nigel. “Music and Poetry at Court: England and France in the Late Middle Ages.” In English Court Culture in the Later Middle Ages, edited by V. J. Scattergood and J. W. Sherborne, 183–204. London: Duckworth, 1983.
Williams, David. Deformed Discourse: The Function of the Monster in Mediaeval Thought and Literature. Montreal: McGill-Queen’s University Press, 1996.
Williams, Deanne. “Gower’s Monster.” In Postcolonial Approaches to the European Middle Ages: Translating Cultures, edited by Ananya Jahanara Kabir and Deanne Williams, 127–50. Cambridge University Press, 2005.
Wimsatt, James I. Chaucer and his French Contemporaries: Natural Music in the Fourteenth Century. University of Toronto Press, 1991.
Wright, Craig. “Dufay’s Nuper rosarum flores, King Solomon’s Temple, and the Veneration of the Virgin.” Journal of the American Musicological Society 47 no. 3 (1994): 395–441.
Wright, Craig. Music in Western Civilization. Belmont: Thomson Schirmer, 2006.
Yudkin, Jeremy. “The Influence of Aristotle on French University Music Texts.” In Music Theory and its Sources: Antiquity and the Middle Ages, edited by André Barbera, 173–89. University of Notre Dame Press, 1990.
Yudkin, Jeremy., ed. De Musica Mensurata: The Anonymous of St. Emmeram. Bloomington and Indianapolis: Indiana University Press, 1990.
Zayaruznaya, Anna. “Form and Idea in the Ars nova Motet.” Ph.D. diss., Harvard University, 2010.
Zayaruznaya, Anna. “Hockets as Compositional and Scribal Practice in the ars nova Motet – A Letter from Lady Music.” Journal of Musicology 30, no. 4 (2013): 461–501.
Zayaruznaya, Anna. “New Voices for Vitry.” Paper delivered at the 42nd Medieval and Renaissance Music Conference, Birmingham, July 2014. Publication forthcoming.
Zayaruznaya, Anna. “Quotation, Perfection, and the Eloquence of Form: Introducing Beatius/Cum humanum.” Plainsong and Medieval Music 24 (forthcoming 2015).
Zayaruznaya, Anna. “‘Sanz note’ & ‘sanz mesure’: Towards a Pre-Modern Aesthetics of the Dirge.” In Voice and Voicelessness in Medieval Europe, edited by Irit Kleiman. Basingstoke: Palgrave Macmillan, forthcoming.
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. “What is a talea?” Paper delivered at the 79th Annual Meeting of the American Musicological Society, Pittsburgh, November 2013, publication forthcoming.
Zeeman, Nicolette. “The Verse of Courtly Love in the Framing Narrative of the Confessio Amantis.” Medium Aevum 60 (1991): 222–40.
Zwick, Gabriel. “Deux motets inédits de Philippe de Vitry et de Guillaume de Machaut.” Revue de musicologie 30, no. 85/88 (1948): 28–57.
