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The Monstrous New Art


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The Monstrous New Art: Divided Forms in the Late Medieval Motet

by Anna Zayaruznaya


Accompanying Sound Recordings

Example 1.1: Machaut, Fons/O livoris, mm. 142–end[The Monstous New Art, p. 35] abd

Example 1.3: Je voi/Fauvel [p. 49] abc

Example 1.5: Quant je/Bon vin [p. 60] abc

Example 2.1: Musicalis/Scientie, mm. 13–27 [p. 76] abd

Example 2.3: In virtute/Decens, mm. 71–80 [p. 79] abde

Example 2.6: Vitry, Vos/Gratissima, mm. 117–23 [p. 84] abde

Example 2.7: In virtute/Decens, mm. 93–100 [p. 85] abde

Example 2.8: In virtute/Decens, mm. 64–70 [p. 87] abde

Example 3.1: Vitry, Cum statua/Hugo, tenor color [p. 111] f

Example 3.5: Sanctum Romanus habitum [p. 116] a

Example 3.7: Vos vocatis me magister [p. 117] a

Example 3.8: Cum statua/Hugo, mm. 1–30 [p. 120] abd

Example 3.9: Cum statua/Hugo, mm. 31–41 [p. 122] abd

Example 3.10: Cum statua/Hugo, mm. 97–105 [p. 127] abd

Example 3.11: Cum statua/Hugo, mm. 106–15, 121–30 [p. 129] abd

Example 3.12: Vitry, Phi millies/O creator, triplum mm. 12–19 [p. 137] a

Example 3.13: Phi millies/O creator, triplum mm. 28–34 [p. 138] a

Example 3.14: Phi millies/O creator, triplum mm. 63–67 [p. 138] a

Example 4.1: Machaut, Tels rit au main qui au soir pleure, seventh stanza [p. 159] a

Example 5.1: Post missarum/Post misse, mm. 1–24 [p. 183] abd

Example 5.2: Post missarum/Post misse, mm. 40–60 [p. 184] abd

Example 5.3: Post missarum/Post misse, mm. 79–93 [p. 185] abd

Example 5.4: Machaut, Bone pastor/Bone pastor, mm. 1–6 [p. 186] abd

Example 5.5: A vous/Ad te, mm. 1–4 [p. 186] abd

Example 5.6: Post missarum/Post misse, mm. 148–end [p. 187] abd

Example 5.7: Machaut, Hélas/Corde mesto (M12), mm. 79–83 [p. 190] abd

Example 5.8: Fortune/Ma dolour, mm. 1–12 [p. 194] abd

Example 5.9: Fortune/Ma dolour, mm. 99–110 [p. 195] abd

Example 5.10a: Fortune/Ma dolour, mm. 77–82 [p. 196]abd

Example 5.10b: Hélas/Corde mesto, mm. 1–6 [p. 196] abd

Example 5.11a: Amer/Durement, mm. 19–28[p. 198]abd

Example 5.11b: Amer/Durement, mm. 73–80 [p. 198] abd

Example 5.12: Amer/Durement, mm. 56–62 [p. 199] abd

Example 5.13: Vitry, Firmissime/Adesto, mm. 162–77 [p. 212] abd

Example 5.14: Beatius/Cum humanum, mm. 197–212 [p. 212] abd

Example 5.15: Beatius/Cum humanum, mm. 213–end [p. 213] abd

 

Appendix 1: Vitry, In virtute/Decens[The Monstous New Art, pp. 235–42] abde

Appendix 2: Vitry, Cum statua/Hugo[The Monstous New Art, pp. 243–49] abd

 

aClare McNamara, mezzo-soprano

bAnna Zayaruznaya, soprano

cWilliam Watson, tenor

dMichael Rigsby, vielle

eRosamund Morley, vielle

fJames Williamson, vielle

Recorded by David Taylor on February 10, 2015 at Firehouse 12, New Haven, CT; produced by Hannah Lash, edited by Greg DiCrosta. Examples 3.1 and 3.7 recorded by Antonio Oliart at WGBH Boston on October 13, 2014. All editions have been made by Anna Zayaruznaya and are printed in The Monstrous New Art: Divided Forms in the Late Medieval Motet (Cambridge University Press, 2015). © Anna Zayaruznaya.

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