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.
