Albritton, Benjamin. “Translation and Parody: Responses to Machaut’s Lay de confort .” In Citation, Intertextuality and Memory in the Middle Ages and Renaissance. ed. Yolanda Plumley, Giuliano Di Bacco, and Stefano Jossa, 1–14. Exeter, 2011.Google Scholar

Albritton, Benjamin. “Moving Across Media: Machaut’s Lais and the Judgement Tradition.” In A Companion to Guillaume de Machaut. ed. Deborah McGrady and Jennifer Bain, 119–39. Leiden, 2012.Google Scholar

American Academy of Arts and Sciences. The Heart of the Matter. 2013. http://humanitiescommission.org/_pdf/HSS_Report.pdf.Google Scholar

Apel, Willi, ed. French Secular Compositions of the Fourteenth Century. 3 vols. Rome, 1970–72.Google Scholar

Armstrong, Adrian, and Sarah Kay, eds. Knowing Poetry: Verse in Medieval France from the “Rose” to the “Rhétoriqueurs.” Ithaca, 2011.CrossRefGoogle Scholar

Bain, Jennifer. “Tonal Structure and the Melodic Role of Chromatic Inflections in the Music of Machaut.” Plainsong and Medieval Music 14.2 (2005): 59–88.10.1017/S0961137104000117CrossRefGoogle Scholar

Baker, Geoffrey. Imposing Harmony: Music and Society in Colonial Cuzco. Durham, 2008.10.1215/9780822388753CrossRefGoogle Scholar

Bent, Margaret. “What is Isorhythm?” In Quomodo cantabimus canticum? — Studies in Honor of Edward H. Roesner. ed. David Butler Cannata, Gabriela Ilnitchi Currie, Rena Charnin Mueller, and John Nádas, 121–43. Middleton, 2008.Google Scholar

Bent, Margaret, and Andrew Wathey, eds. Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146. Oxford, 1998.Google Scholar

Bloechl, Olivia A. Native American Song at the Frontiers of Early Modern Music. Cambridge, 2008.Google Scholar

Boynton, Susan, and Eric Rice, eds. Young Choristers, 650–1700. Woodbridge, UK, 2008.Google Scholar

Brown, Howard Mayer. “Madrigals and Motets.” The Times Literary Supplement (20 July 1973): 834–35.Google Scholar

Busse Berger, Anna Maria. Medieval Music and the Art of Memory. Berkeley, 2005.CrossRefGoogle Scholar

Butterfield, Ardis. “The Musical Contexts of Le Tournoi de Chauvency in Oxford, Bodleian MS Douce 308.” In Lettres, musique et société en Lorraine médiévale: Autour du Tournoi de Chauvency. ed. Mireille Chazan and Nancy Freeman Regalado, 399–422. Geneva, 2012.Google Scholar

Canguilhem, Philippe. “Singing upon the Book According to Vicente Lusitano.” Early Music History 30 (2011): 55–103.10.1017/S0261127911000052CrossRefGoogle Scholar

Canguilhem, Philippe, ed. Chanter sur le livre à la Renaissance: Une édition et traduction des traités de contrepoint de Vicente Lusitano. Turnhout, 2013.Google Scholar

Catalunya, David. Conference papers presented. http://www.davidcatalunya.com/research/conference-papers/.Google Scholar

Colton, Lisa. “Languishing for Provenance: Zelo tui langueo and the Search for Women’s Polyphony in England.” Early Music 39.3 (2011): 315–25.CrossRefGoogle Scholar

Contributor X. “Florence to Henry.” The Times Literary Supplement (29 June 1973): 751.Google Scholar

Cumming, Julie E. “Renaissance Improvisation and Musicology.” Music Theory Online 19 (2013): http://mtosmt.org/issues/mto.13.19.2/mto.13.19.2.cumming.pdf.CrossRefGoogle Scholar

Dart, Thurston. The Interpretation of Music. London, 1954.Google Scholar

Di Bacco, Giuliano. De Muris et gli alti: Sulla tradizione di un trattato trecentesco di contrappunto. Lucca, 2001.Google Scholar

Dillon, Emma. Medieval Music-Making and the “Roman de Fauvel.” Cambridge, 2002.Google Scholar

Dougherty, Peter J. “A Manifesto for Scholarly Publishing.” The Chronicle of Higher Education 55.39 (12 June 2009): B10–B12.Google Scholar

Earp, Lawrence. “Lyrics for Reading and Lyrics for Singing in Late Medieval France: The Development of the Dance Lyric from Adam de la Halle to Guillaume de Machaut.” In The Union of Words and Music in Medieval Poetry. ed. Rebecca A. Baltzer, Thomas Cable, and James I. Wimsatt, 101–31. Austin, 1991.Google Scholar

Earp, Lawrence. Guillaume de Machaut: A Guide to Research. New York, 1995.Google Scholar

Earp, Lawrence. “Declamatory Dissonance in Machaut.” In Citation and Authority in Medieval and Renaissance Music: Learning from the Learned. ed. Suzannah Clark and Elizabeth Eva Leach, 102–22. Woodbridge, Suffolk, 2005.Google Scholar

Elders, Willem, ed. New Josquin Edition. Utrecht, 1987–.Google Scholar

Ellis, Katharine. Interpreting the Musical Past: Early Music in Nineteenth-Century France. New York, 2005.Google Scholar

Everist, Mark. “The Polyphonic Rondeau c. 1300: Repertory and Context.” Early Music History 15 (1996): 59–96.10.1017/S0261127900001522CrossRefGoogle Scholar

Everist, Mark. “Motets, French Tenors and the Polyphonic Chanson ca. 1300.” Journal Musicology 24.3 (2007a): 365–406.CrossRefGoogle Scholar

Everist, Mark. “‘Souspirant en terre estrainge’: The Polyphonic Rondeau from Adam de la Halle to Guillaume de Machaut.” Early Music History 26 (2007b): 1–42.Google Scholar

Fallows, David. Dufay. London, 1982.Google Scholar

Fallows, David. Josquin. Turnhout, 2009.Google Scholar

Fiorentino, Giuseppe. “Folía”: El origen de los esquemas armónicos entre tradición oral y transmisión escrita. Kassel, 2013.Google Scholar

Fisher, Alexander J. Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria. New York, 2014.CrossRefGoogle Scholar

Fuller, Sarah. “Concerning Gendered Discourse in Medieval Music Theory: Was the Semitone ‘Gendered Feminine’?” Music Theory Spectrum 33.1 (2011): 65–89.CrossRefGoogle Scholar

Guiette, Robert. Questions de littérature. Ghent, 1960.Google Scholar

Handy, Isabelle. Musiciens au temps des derniers valois (1547–1589). Paris, 2008.Google Scholar

Harper-Scott, J. P. E. The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton. Cambridge, 2012.CrossRefGoogle Scholar

Harvard University. “Mapping the Future.” http://artsandhumanities.fas.harvard.edu/files/humanities/files/mapping_the_future_31_may_2013.pdf.Google Scholar

Howard, Deborah, and Laura Moretti. Sound and Space in Renaissance Venice: Architecture, Music, Acoustics. New Haven, 2009.Google Scholar

Howard, Deborah, and Laura Moretti.,eds. The Music Room in Early Modern France and Italy: Sound, Space and Object. Oxford, 2012.CrossRefGoogle Scholar

Huot, Sylvia. From Song to Book: The Poetics of Writing in Old French Lyric and Lyrical Narrative Poetry. Ithaca, 1987.Google Scholar

Huot, Sylvia. “Guillaume de Machaut and the Consolation of Poetry.” Modern Philology 100.2 (2002): 169–95.CrossRefGoogle Scholar

Irving, D. R. M. Colonial Counterpoint: Music in Early Modern Manila. Oxford, 2010.CrossRefGoogle Scholar

Janin, Barnabé. Chanter sur le livre: Manuel pratique d’improvisation polyphonique de la renaissance (XVe et XVIe siècles). [Langres], 2012.Google Scholar

Jeanroy, Alfred. “La littérature de langue française des origines à Ronsard.” In Histoire des lettres (des origines à Ronsard). ed. Joseph Bédier, Alfred Jeanroy, and F. Picavet, 237–576. Paris, 1921.Google Scholar

Kay, Sarah. “Touching Singularity: Consolation, Philosophy, and Poetry in the French dit.” In The Erotics of Consolation: Desire and Distance in the Late Middle Ages. ed. Catherine E. Léglu and Stephen J. Milner, 21–38. Basingstoke, 2008.Google Scholar

Kerman, Joseph. Contemplating Music. Cambridge, MA, 1985.Google Scholar

Knighton, Tess, and Álvaro Torrente, eds. Devotional Music in the Iberian World, 1450–1800: The Villancico and Related Genres. Aldershot, 2007.Google Scholar

Kügle, Karl. “De ordinatio van het ‘Gruuthuse’-liedboek en de Europese muziek omstreeks 1400.” In Het Gruuthuse-handschrift in woord en klank: Nieuwe inzichten, nieuwe vragen. ed. Frank Willaert, 81–112. Ghent, 2010.Google Scholar

Kügle, Karl. “Glorious Sounds for a Holy Warrior: New Light on Codex Turin J.II.9.” Journal of the American Musicological Society 65.3 (2012): 637–90.Google Scholar

Kügle, Karl. “Muziek in Brugge rond 1400.” In Liefde en Devotie: Het Gruuthusehandschrift — kunst en cultuur omstreeks 1400. ed. J. Koldeweij, I. Geysen, and E. Tahon, 108–23. [Antwerp], 2013.Google Scholar

Leach, Elizabeth Eva. “Learning French by Singing in Fourteenth-Century England.” Early Music 33.2 (2005): 253–70.CrossRefGoogle Scholar

Leach, Elizabeth Eva. “Gendering the Semitone, Sexing the Leading Tone: Fourteenth-Century Music Theory and the Directed Progression.” Music Theory Spectrum 28.1 (2006): 1–21.Google Scholar

Leach, Elizabeth Eva. “Nature’s Forge and Mechanical Production: Writing, Reading, and Performing Song.” In Rhetoric beyond Words: Delight and Persuasion in the Arts of the Middle Ages. ed. Mary Carruthers, 72–95. Cambridge, 2010.Google Scholar

Leach, Elizabeth Eva. Guillaume de Machaut: Secretary, Poet, Musician. Ithaca, 2011a.CrossRefGoogle Scholar

Leach, Elizabeth Eva. “Reading and Theorizing Medieval Music Theory: Interpretation and Its Contexts.” Music Theory Spectrum 33.1 (2011b): 90–98.CrossRefGoogle Scholar

Leach, Elizabeth Eva. “Poet as Musician.” In A Companion to Guillaume de Machaut. ed. Deborah McGrady and Jennifer Bain, 49–66. Leiden, 2012.Google Scholar

Leach, Elizabeth Eva. “Early Music and Web 2.0.” Early Music 41.1 (2013): 134–35.10.1093/em/cas148CrossRefGoogle Scholar

Leech-Wilkinson, Daniel. The Modern Invention of Medieval Music: Scholarship, Ideology, Performance. Cambridge, 2002.Google Scholar

Lindmayr-Brandl, Andrea. “Rudolf von Fickers Einleitungstext zum sechsten Auswahlband der Trienter Codices in den DTÖ: Ein wideraufgefundener Entwurf aus dem Nachlass.” In Rudolf von Ficker (1886–1954). ed. Lukas Christensen, Kurt Drexel, and Monika Fink, 103–40. Innsbruck, 2012.Google Scholar

Meyer, Christian, Cesarini Ruini, and Giuliano Di Bacco. The Theory of Music: Manuscripts from the Carolingian Era up to c. 1500; Descriptive Catalogue of Manuscripts: Addenda, Corrigenda. Munich, 2003.Google Scholar

Milsom, John. “Absorbing Lassus.” Early Music 33 (2005): 305–20.CrossRefGoogle Scholar

Monson, Craig A. Nuns Behaving Badly: Tales of Music, Magic, Art, and Arson in the Convents of Italy. Chicago, 2010.CrossRefGoogle Scholar

Peraino, Judith A. Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig. Berkeley, 2005.CrossRefGoogle Scholar

Peraino, Judith A. Giving Voice to Love: Song and Self-Expression from the Troubadours to Guillaume de Machaut. New York, 2011.10.1093/acprof:oso/9780199757244.001.0001CrossRefGoogle Scholar

Pieragostini, Renata. “Rediscovering Lost Evidence: Little-Known Fragments with English Polyphony in Bologna.” Music and Letters 92.3 (2011): 343–76.CrossRefGoogle Scholar

Plumley, Yolanda. “An ‘Episode in the South’? Ars Subtilior and the Patronage of French Princes.” Early Music History 22 (2003): 103–68.Google Scholar

Plumley, Yolanda. The Art of Grafted Song: Citation and Allusion in the Age of Machaut. Oxford, 2013.CrossRefGoogle Scholar

Plumley, Yolanda, and Anne Stone, eds. A Late Medieval Songbook and Its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chantilly, Ms. 564). Turnhout, 2009.Google Scholar

Poirion, Daniel. Le poète et le prince: L’évolution du lyrisme courtois de Guillaume de Machaut à Charles d’Orléans. Grenoble, 1965.Google Scholar

Rotter-Broman, Signe. Komponieren in Italien um 1400: Studien zu dreistimmig überlieferten Liedsätzen von Andrea und Paolo da Firenze, Bartolino da Padova, Antonio Zacara da Teramo und Johannes Ciconia. Hildesheim, 2012.Google Scholar

Saltzstein, Jennifer. The Refrain and the Rise of the Vernacular in Medieval French Music and Poetry. Woodbridge, Suffolk, 2013.Google Scholar

Saul, Scott. “The Humanities in Crisis? Not at Most Schools.” New York Times, 3 July 2013.Google Scholar

Schiltz, Katelijne, and Bonnie J. Blackburn, eds. Canons and Canonic Techniques, 14th–16th Centuries: Theory, Practice, and Reception History; Proceedings of the International Conference, Leuven, 4–6 October 2005. Leuven, 2007.Google Scholar

Schubert, Peter. Modal Counterpoint, Renaissance Style. 2nd ed. New York, 2008.Google Scholar

Schubert, Peter. “From Improvisation to Composition: Three 16th-c. Case Studies.” http://www.academia.edu/3837270/.Google Scholar

Slim, H. Colin. A Gift of Madrigals and Motets. Chicago, 1972.CrossRefGoogle Scholar

Stoessel, Jason. “Revisiting Aÿ, mare, amice mi care: Insights into Late Medieval Music Notation.” Early Music 40.3 (2012): 455–86.CrossRefGoogle Scholar

Stone, Anne. The Manuscript Modena, Biblioteca Estense, Alpha.M.5.24: Commentary. Lucca, 2005.Google Scholar

Stone, Anne. “Machaut Sighted in Modena.” In Citation, Intertextuality and Memory in the Middle Ages and Renaissance. ed. Yolanda Plumley, Giuliano Di Bacco, and Stefano Jossa, 170–89. Exeter, 2011.Google Scholar

Strohm, Reinhard. “Vom Internationalen Stil zur Ars Nova? Probleme einer Analogie.” Musica Disciplina 41 (1987): 5–13.Google Scholar

Strohm, Reinhard. “Music, Humanism, and the Idea of a ‘Rebirth’ of the Arts.” In Music as Concept and Practice in the Late Middle Ages. ed. Reinhard Strohm and Bonnie J. Blackburn, Vol. 3.1:346–88. Oxford, 2001.Google Scholar

Tomlinson, Gary. The Singing of the New World: Indigenous Voice in the Era of European Contact. Cambridge, 2007.Google Scholar

Tribble, Evelyn. “Distributing Cognition in the Globe.” Shakespeare Quarterly 56.2 (2005): 135–55.CrossRefGoogle Scholar

van Orden, Kate. Music, Discipline, and Arms in Early Modern France. Chicago, 2005.Google Scholar

van Orden, Kate. Music, Authorship, and the Book in the First Century of Print. Berkeley, 2014.Google Scholar

Whiting, Bartlett J. “Froissart as Poet.” Mediaeval Studies 8 (1946): 189–216.CrossRefGoogle Scholar

Wilbourne, Emily. “ Lo Schiavetto (1612): Travestied Sound, Ethnic Performance, and the Eloquence of the Body.” Journal of the American Musicological Society 63 (2010): 1–43.CrossRefGoogle Scholar

Winternitz, Emanuel. Leonardo da Vinci as a Musician. New Haven, 1982.Google Scholar

Wistreich, Richard. Warrior, Courtier, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance. Farnham, 2007.Google Scholar

Witkowska-Zaremba, Elżbieta. Notae musicae artis: Musical Notation in Polish Sources, 11th–16th Century. Krakow, 2001.Google Scholar

Yardley, Anne Bagnall. Performing Piety: Musical Culture in Medieval English Nunneries. New York, 2006.CrossRefGoogle Scholar

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

Zeeman, Nicolette. “The Gender of Song in Chaucer.” Studies in the Age of Chaucer 29 (2007): 141–82.CrossRefGoogle Scholar