Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-v9fdk Total loading time: 0 Render date: 2024-11-18T08:44:53.905Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  01 September 2018

Karen Desmond
Affiliation:
Brandeis University, Massachusetts
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Music and the moderni, 1300–1350
The a<I>rs nova </I>in Theory and Practice
, pp. 262 - 283
Publisher: Cambridge University Press
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Adams, Marilyn McCord. ‘Universals in the Early Fourteenth Century’. In The Cambridge History of Later Medieval Philosophy: From the Rediscovery of Aristotle to the Disintegration of Scholasticism, ed. Kretzmann, Norman, Kenny, Anthony, and Pinborg, Jan, 411–39. Cambridge University Press, 1982.Google Scholar
Anglès, Higini. ‘De cantu organico: tratado de un autor catalán del siglo XIV’. Anuario musical, 13 (1958), 1824.Google Scholar
Anonymous. Ars cantus mensurabilis mensurata per modos iuris. Ed. and trans. Balensuela, C. Matthew. Greek and Latin Music Theory 10. Lincoln: University of Nebraska Press, 1994.Google Scholar
Anonymous IV. [Musica]. In Der Musiktraktat des Anonymus 4. I: Edition; II: Interpretation der Organum purum-Lehre. Ed. Reckow, Fritz. 2 vols. Beihefte zum Archiv für Musikwissenschaft 4–5. Wiesbaden: F. Steiner, 1967.Google Scholar
Anonymous of St Emmeram. De musica mensurata. Ed. and trans. Jeremy Yudkin, . Bloomington: Indiana University Press, 1990.Google Scholar
Anonymus. Ars musicae mensurabilis secundum Franconem (Mss. Paris, Bibl. Nat., lat. 15129; Uppsala, Universiteitsbibl., C 55). Anonymus, Compendium musicae mensurabilis artis antiquae (Ms. Faenza, Biblioteca Comunale 117). Ed. Alberto Gallo, F., Reaney, Gilbert, and Gilles, André. Corpus scriptorum de musica 15. Dallas: American Institute of Musicology, 1971.Google Scholar
Anonymus. De musica mensurabili. Anonymus. De semibrevibus caudatis. Ed. Sweeney, C. and Gilles, A.. Corpus scriptorum de musica 13. Dallas: American Institute of Musicology, 1971.Google Scholar
Anonymus. De valore notularum tam veteris quam novae artis (Ms. Paris, Bibl. Nat., lat. 15128). Anonymus, Compendium musicae mensurabilis tam veteris quam novae artis (Ms. Paris, Bibl. Nat., lat. 15128). Anonymus, De diversis maneriebus in musica mensurabili (Ms. Saint-Dié, Bibl. Municipale 42). Ed. Reaney, Gilbert. Corpus scriptorum de musica 30. Neuhausen-Stuttgart: Hänssler-Verlag, American Institute of Musicology, 1982.Google Scholar
Apel, Willi. The Notation of Polyphonic Music 900–1600. Oxford City Press, 1941.Google Scholar
Aristotle. Metaphysics. Trans. and ed. Barnes, Jonathan. The Complete Works of Aristotle: The Revised Oxford Translation, 2 vols., vol. ii. Princeton University Press, 1984.Google Scholar
Aristotle. Physics. Trans. and ed. Barnes, Jonathan. The Complete Works of Aristotle: The Revised Oxford Translation, 2 vols., vol. i. Princeton University Press, 1984.Google Scholar
Arribas, Josefina Rodríguez. ‘Medieval Jews and Medieval Astrolabes: Where, Why, How, and What For?’ In Time, Astronomy, and Calendars in the Jewish Tradition, ed. Stern, Sacha and Burnett, Charles, 221–72. Leiden: Brill, 2014.Google Scholar
Bain, Jennifer. ‘Tonal Structure and the Melodic Role of Chromatic Inflections in the Music of Machaut’, Plainsong and Medieval Music, 14 (2005), 5988.Google Scholar
Balensuela, Matthew C. ‘Anonymous Theoretical Writings’. Grove Music Online. Oxford Music Online. Oxford University Press, available at www.oxfordmusiconline.com/subscriber/article/grove/music/00969.Google Scholar
Baltzer, Rebecca. ‘The Decoration of Montpellier Fascicle 8: Its Place in the Continuum of Parisian Manuscript Illumination’. In The Montpellier Codex: The Final Fascicle – Contents, Contexts, Chronologies, ed. Bradley, Catherine A. and Desmond, Karen, 78–89. Farnham: The Boydell Press, 2018.Google Scholar
Barnes, Jonathan, ed. The Cambridge Companion to Aristotle. Cambridge University Press, 1995.Google Scholar
Bautz, Friedrich Wilhelm. ‘Heinrich Eger (Egher) von Kalkar’. In Biographisch-Bibliographisches Kirchenlexikon, vol. ii, cols. 678–9. Hamm: Bautz, 1990.Google Scholar
Beaujouan, Guy. ‘Histoire des sciences au Moyen Âge’, École Pratique des Hautes Études, IVe section (sciences historiques et philologiques), Annuaire, 97 (1964/65), 259–62.Google Scholar
Bent, Margaret. Magister Jacobus de Ispania, Author of the Speculum musicae. Farnham: Ashgate, 2015.Google Scholar
Bent, Margaret. ‘A Note on the Dating of the Trémoïlle Manuscript’. In Beyond the Moon: Festschrift Luther Dittmer, ed. Dittmer, Luther A., Gillingham, Bryan, and Merkley, Paul, 217–42. Ottawa: Institute of Mediaeval Music, 1990.Google Scholar
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 Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Pesce, Dolores, 82103. New York and Oxford: Oxford University Press, 1997.Google Scholar
Bent, Margaret. ‘A Preliminary Assessment of the Independence of English Trecento Notations’. In L’Ars Nova Italiana del Trecento IV, ed. Ziino, Agostino, 6582. Certaldo: Centro di studi sull’Ars nova italiana del Trecento, 1978.Google Scholar
Bent, Margaret. Two 14th-Century Motets in Praise of Music. North Harton: Antico Edition [c. 1977].Google Scholar
Bent, Margaret. ‘Words and Music in Machaut’s Motet 9’, Early Music, 31 (2003), 363–88.CrossRefGoogle Scholar
Bent, Margaret. and Wathey, Andrew. ‘Philippe de, Vitry’. Grove Music Online. Oxford Music Online. Oxford University Press, available at www.oxfordmusiconline.com/subscriber/article/grove/music/29535.Google Scholar
Bent, Margaret. and Wathey, Andrew, eds. Fauvel Studies: Allegory, Chronicle and Image in Paris, Bibliothèque nationale de France, MS français 146. Cahier d’étude médiévales (La science de la nature: théories et pratiques). Oxford University Press, 1998.Google Scholar
Bergson, Henri. Creative Evolution. New York: Cosimo Classics, 2005.Google Scholar
Berktold, Christian. ‘Die “Arbor” des Johannes de Burgundia’. Cantus planus VI: Éger 1993, 2 (1993), 653–4.Google Scholar
Bernard of Clairvaux. Sententiae. Ed. Leclercq, J. and Rochais, H. M.. Bernardi, Sancti Opera, vol. vi/ii. Rome, 1971.Google Scholar
Besseler, Heinrich. ‘Johannes de Muris’. In Die Musik in Geschichte und Gegenwart, vol. vii, cols. 105–15. Kassel: Bärenreiter, 1949–86.Google Scholar
Besseler, Heinrich. ‘Studien zur Musik des Mittelalters II. Die Motette von Franko von Köln bis Philipp von Vitry’, Archiv für Musikwissenschaft, 8 (1927), 137258.CrossRefGoogle Scholar
Bettoni, Efrem. Duns Scotus: The Basic Principles of his Philosophy. Trans. Bonansea, Bernardino M.. Washington, DC: Catholic University of America Press, 1961.Google Scholar
Binski, Paul. Gothic Wonder: Art, Artifice and the Decorated Style, 1290–1350. Mellon, Paul Centre for Studies in British Art. New Haven and London: Yale University Press, 2014.Google Scholar
Binski, Paul. ‘The Heroic Age of Gothic and the Metaphors of Modernism’. Gesta, 52 (2013), 319.CrossRefGoogle Scholar
Bockholdt, Rudolf. ‘Semibrevis minima und prolatio temporis: Zur Entstehung der Mensuraltheorie der Ars nova’. Die Musikforschung, 16 (1963), 321.CrossRefGoogle Scholar
Boen, Johannes. Ars (musicae). In Ars (musicae) Johannis Boen. Ed. F. A. Gallo. Corpus scriptorum de musica 19. Rome: American Institute of Musicology, 1972.Google Scholar
Boen, Johannes. Musica. In Johannes Boens Musica und seine Konsonanzenlehre. Ed. Wolf Frobenius. Stuttgart: Musikwissenschaftliche Verlags-Gesellschaft, 1971.Google Scholar
Boethius, Anicius Severinus, Manlius. In ‘Isagogen’ Porphyrii commentorum edition secunda. Ed. Brandt, Samuel. Corpus scriptorum ecclesiasticorum latinorum 48. Vienna and Leipzig: Tempsky, F., 1906. Repr. New York: Johnson, 1966.Google Scholar
Boone, Graeme M.Marking Mensural Time’. Music Theory Spectrum, 22 (2000), 143.Google Scholar
Boudet, Jean-Patrice. Entre science et nigromance: Astrologie, divination et magie dans l’occident (XIIe–XVe siècle). Paris: Publications de la Sorbonne, 2006.Google Scholar
Boudet, Jean-Patrice. ‘La Papauté d’Avignon et l’astrologie’. Cahiers de Fanjeaux, 27 (1992), 257–93.Google Scholar
Boudet, Jean-Patrice. Le recueil des plus célébres astrologues de Simon de Phares. Paris: Librairie honoré Champion, 1997–99.Google Scholar
Boudet, Jean-Patrice. ‘Simon de Phares et les rapports entre astrologie et prophétie à la fin du Moyen Âge’. Mélanges de l’Ecole française de Rome. Moyen-Age, 102(2) (1990), 617–48.Google Scholar
Boureau, Alain. Théologie, science et censure au XIIIe siècle: Le cas de Jean Peckham. Paris: Les belles lettres, 1999.Google Scholar
Bragard, Roger. ‘Le Speculum musicae du compilateur Jacques de Liège I’. Musica Disciplina, 7 (1953), 59104.Google Scholar
Bragard, Roger. ‘Le Speculum musicae du compilateur Jacques de Liège II’. Musica Disciplina, 8 (1954), 117.Google Scholar
Burley, Walter. De intensione et remissione formarum. Venice, 1496.Google Scholar
Busard, Hubert L. L.Die “Arithmetica speculativa” des Johannes des Muris’. Scientiarum historia, 13 (1971), 103–32.Google Scholar
Berger, Busse, Maria, Anna. ‘The Consequences of Ars Nova Notation’. In The Calligraphy of Medieval Music, ed. Haines, John, 241–52. Musicalia medii aevi 1. Turnhout: Brepols, 2011.Google Scholar
Berger, Busse, Maria, Anna. ‘Franco’s Notational Reforms: Acceptance and Resistance’. In Musik der mittelalterlichen Metropole: Räume, Identitäten und Kontexte der Musik in Köln und Mainz, ca. 900–1400, Tagungsbericht Mainz/Köln Oktober 2014, ed. Kolb, Fabian, 465–76. Beiträge zur rheinischen Musikgeschichte 179. Berlin, Kassel: Merseburger, 2016.Google Scholar
Berger, Busse, Maria, Anna. Medieval Music and the Art of Memory. Berkeley, Los Angeles, London: University of California Press, 2005.Google Scholar
Berger, Busse, Maria, Anna. Mensuration and Proportion Signs: Origins and Evolution. Oxford University Press, 1993.Google Scholar
Bynum, Caroline Walker. The Resurrection of the Body in Western Christianity 200–1336. New York: Columbia University Press, 1995.Google Scholar
Callus, D. A.Forms, Unicity and Plurality of’. In New Catholic Encylopedia. New York: McGraw-Hill, 1967–79.Google Scholar
Callus, D. A.The Origins of the Problem of the Unity of Form’. In The Dignity of Science, ed. Weisheipl, James A., 121–49. Washington: The Thomist Press, 1961.Google Scholar
Caplin, William. ‘Theories of Musical Rhythm in the Eighteenth and Nineteenth Centuries’. In The Cambridge History of Western Music Theory, ed. Christensen, Thomas, 657–94. Cambridge University Press, 2002.Google Scholar
Carey, Hilary M. Courting Disaster: Astrology at the English Court and University in the Later Middle Ages. New York: St. Martin’s Press, 1992.Google Scholar
Carruthers, Mary. The Book of Memory: A Study of Memory in Medieval Culture. Cambridge University Press, 1990.Google Scholar
Carruthers, Mary. The Experience of Beauty in the Middle Ages. Oxford Warburg Studies. Oxford University Press, 2013.Google Scholar
Carruthers, Mary. ‘Reading with Attitude, Remembering the Book’. In The Book and the Body, ed. Warwick Frese, Dolores and O’Brien O’Keeffe, Katherine, 133. Notre Dame and London: University of Notre Dame Press, 1997.Google Scholar
Chabás, José and Goldstein, Bernard R.. The Alfonsine Tables of Toledo. Archimedes: New Studies in the History and Philosophy of Science and Technology, vol. 8. Dordrecht: Kluwer, 2003.CrossRefGoogle Scholar
Chabás, José and Goldstein, Bernard R.. ‘Computing Planetary Positions: User-Friendliness and the Alfonsine Corpus’. Journal for the History of Astronomy, 44 (2013), 257–76.Google Scholar
Chabás, José and Goldstein, Bernard R.. ‘Early Alfonsine Astronomy in Paris: The Tables of John Vimond (1320)’. Suhayl, 4 (2009), 207–94.Google Scholar
Chabás, José and Goldstein, Bernard R.. ‘John of Murs Revisited: The Kalendarium solis et lune for 1321’. Journal for the History of Astronomy, 43 (2012), 412–37.Google Scholar
Chabás, José and Goldstein, Bernard R.. ‘John of Murs’s Tables of 1321’. Journal for the History of Astronomy, 40 (2009), 297320.Google Scholar
Clagett, Marshall. Archimedes in the Middle Ages. Madison: University of Wisconsin Press, 1964.Google Scholar
Clagett, Marshall. ed. and trans. Nicole Oresme and the Medieval Geometry of Qualities and Motions: A Treatise on the Uniformity and Difformity of Intensities known as ‘Tractatus de configurationibus qualitatum et motuum’. Madison: University of Wisconsin Press, 1968.Google Scholar
Clark, Alice V.Concordare cum materia: The Tenor in the Fourteenth-Century Motet’. PhD diss., Princeton University (1996).Google Scholar
Cohen, David E.“The Imperfect Seeks its Perfection”: Harmonic Progression, Directed Motion, and Aristotelian Physics’. Music Theory Spectrum, 23 (2001), 139–69.CrossRefGoogle Scholar
Cook, Karen. ‘Theoretical Treatments of the Semiminim in a Changing Theoretical World’. PhD diss., Duke University (2012).Google Scholar
Courtenay, William J. Antiqui and Moderni in Late Medieval Thought’. Journal of the History of Ideas, 48 (1987), 310.Google Scholar
Courtenay, William J. Ockham and Ockhamism: Studies in the Dissemination and Impact of his Thought. Leiden and Boston: Brill, 2008.Google Scholar
Courtenay, William J. Parisian Scholars in the Early Fourteenth Century. Cambridge University Press, 1999.Google Scholar
Coussemaker, Edmond de. Histoire de l’harmonie au moyen-age. Paris: V. Didron, 1852.Google Scholar
Coussemaker, Edmond de. Scriptorum de musica medii aevi. Novam seriem a Gerbertina alteram collegit nuncque primum edidit E. de Coussemaker. 4 vols. Original edn, 1876; facs. edn, G. Olms: Hildesheim, 1963.Google Scholar
Crocker, Richard L.Discant, Counterpoint, and Harmony’. Journal of the American Musicological Society, 15 (1962), 121.Google Scholar
Crosby, Alfred W. The Measure of Reality: Quantification and Western Society 1250–1600. Cambridge University Press, 1997.Google Scholar
Cross, Richard. The Physics of Duns Scotus. Oxford University Press, 1998.Google Scholar
Curtze, Maximilian. ‘Urkunden zur Geschichte der Trigonometrie im christlichen Mittelalter (no. 8 “Die Sinusrechnung des Johannes de Muris”)’. Biblioteca mathematica, 2nd series, vol. i (1900), 321416, at 13–16.Google Scholar
de Rijk, Lambertus Marie. ‘Burley’s So-Called Tractatus primus, with an Edition of the Additional Quaestio Utrum contradictio sit maxima oppositio. Vivarium, 24 (1996), 161–91.Google Scholar
DeFord, Ruth I. Tactus, Mensuration and Rhythm in Renaissance Music. Cambridge University Press, 2015.Google Scholar
Delisle, Léopold. Le cabinet des manuscrits de la bibliothèque nationale. Paris: Imprimerie impériale, 1871–81.Google Scholar
Delisle, Léopold. and Passy, Louis, eds. ‘La reine Jeanne de Navarre fit élever près d’Évreux vers 1330 une maison de plaisance ornée de tours’. Mémoires et notes par Auguste Le Prévost pour servir à l’histoire du département de l’Eure, vol. ii. Évreux: Auguste Hérissey, 1864.Google Scholar
Delorme, Ferdinand M. ‘Manuscrit du “Computus” de Roger Bacon annoté par Guillaume de Saint-Cloud’. Antonianum, 11 (1936), 554–62.Google Scholar
Denifle, Henricus and Chatelain, E., eds. Chartularium Universitatis Parisiensis. 4 vols. Paris: ex typis fratrum Delalain, 1889–94.Google Scholar
Desmond, Karen. ‘Behind the Mirror: Revealing the Contexts of Jacobus’s Speculum musicae’. PhD diss., New York University (2009).Google Scholar
Desmond, Karen. ‘Did Vitry Write an Ars vetus et nova?’ Journal of Musicology, 32 (2015), 441–93.Google Scholar
Desmond, Karen. ‘Jean des Murs and the three libelli on music in BnF lat. 7378A: A Preliminary Report’. Paper presented at the annual Conference on Medieval and Renaissance Music, Birmingham University, June 2014, and at the conference ‘Jean (Jehan) des Murs: Quadrivial Science in the Fourteenth Century’, All Souls College, Oxford, 15 June 2017. Forthcoming.Google Scholar
Desmond, Karen. ‘New Light on Jacobus, Author of Speculum musicae. Plainsong and Medieval Music, 9 (2000), 1940.Google Scholar
Desmond, Karen. ‘“One is the loneliest number …”: The Semibreve Stands Alone’. Early Music, 46 (2018).Google Scholar
Desmond, Karen. ‘Texts in Play: The Ars nova and its Hypertexts’. Musica Disciplina, 57 (2013), 81153.Google Scholar
Desmond, Karen. ‘Texture, Rhythm, and Stylistic Groupings in Montpellier’s Eighth Fascicle Motets’. In The Montpellier Codex: The Final Fascicle – Contents, Contexts, Chronologies, ed. Bradley, Catherine A. and Desmond, Karen. Farnham: The Boydell Press, 2018.Google Scholar
Desmond, Karen. and Hopkins, Emily, Howes, Sam, Cumming, Julie. ‘Measuring Polyphony: Computer-Aided Analysis of Sonority in the French Motet Repertory, c.1300–1350’. Article in preparation.Google Scholar
Di Bacco, Giuliano. De Muris e gli altri: Sulla tradizione di un trattato trecentesco di contrappunto. Lucca: Libreria Musicale Italiana, 2001.Google Scholar
Dillon, Emma. ‘The Profile of Philippe V in the Music of Fauvel’. In Fauvel Studies: Allegory, Chronicle and Image in Paris, Bibliothèque nationale de France, MS français 146, ed. Bent, Margaret and Wathey, Andrew, 215–31. Oxford University Press, 1998.Google Scholar
Dillon, Emma. The Sense of Sound: Musical Meaning in France, 1260–1330. The New Cultural History of Music. New York and Oxford: Oxford University Press, 2012.Google Scholar
Dittmer, Luther. ‘Binary Rhythm, Musical Theory and the Worcester Fragments’. Musica Disciplina, 7 (1953), 3957.Google Scholar
Duhamel, Pascale. ‘L’enseignement de la musique à l’Université de Paris d’après le manuscrit BnF lat. 7378A’. Acta musicologica, 79 (2007), 263–89.Google Scholar
Dyer, Joseph. ‘Speculative “Musica” and the Medieval University of Paris’. Music and Letters, 90 (2009), 177204.Google Scholar
Dyer, Joseph. ‘A Thirteenth-Century Choirmaster: The “Scientia Artis Musicae” of Elias Salomon’. Musical Quarterly, 66 (1980), 83111.Google Scholar
Earp, Lawrence. ‘Tradition and Innovation in Ars nova Motet Notation’. Paper presented at the AMS General Meeting, Louisville, November 2015.Google Scholar
Ellsworth, Oliver B., ed. The Berkeley Manuscript. Greek and Latin Music Theory, vol. ii. Lincoln: University of Nebraska Press, 1984.Google Scholar
Evans, James. The History and Practice of Ancient Astronomy. Oxford University Press, 1998.Google Scholar
Everist, Mark. ‘Montpellier 8: The Anatomy of …’. In The Montpellier Codex: The Final Fascicle – Contents, Contexts, Chronologies, ed. Bradley, Catherine A. and Desmond, Karen, 13–31. Farnham: The Boydell Press, 2018.Google Scholar
Everist, Mark. ‘Motets, French Tenors and the Polyphonic Chanson ca.1300’. Journal of Musicology, 24 (2007), 365406.Google Scholar
Falkenroth, Christoph, ed. Die Musica speculativa des Johannes de Muris: Kommentar zur Überlieferung und kritische Edition. Stuttgart: F. Steiner, 1992.Google Scholar
Farmer, Sharon. ‘“Natural” Landscape: The Garden Park at Hesdin, ca. 1291–1302’. Speculum, 88 (2013), 644–80.Google Scholar
Fassler, Margot. Medieval Music in the West. New York: W. W. Norton, 2014.Google Scholar
Fétis, François-Joseph. Biographie universelle des musiciens et bibliographie générale de la musique, vol. vi. 2nd edn. Paris: Firmin Didot, 1867–83.Google Scholar
Findlen, Paula. ‘Jokes of Nature and Jokes of Knowledge: The Playfulness of Scientific Discourse in Early Modern Europe’. Renaissance Quarterly, 43 (1990), 292331.Google Scholar
Finot, André.Les médecins des rois Capétiens’. In Histoire des sciences médicales, nouvelle série, vol. vii (1973), 233–43.Google Scholar
Fitzpatrick, Antonia. Thomas Aquinas on Bodily Identity. Oxford University Press, 2017.Google Scholar
Fladt, Elinore. ‘Die Musikauffassung des Johannes de Grocheo im Kontext der hochmittelalterlichen Aristoteles-Rezeption’. PhD diss., Technische Universität, Berlin (1981).Google Scholar
Florea, Luminita. ‘Virtus Scriptoris: Steps towards a Typology of Illustration Borrowing in Music Theory Treatises of the Late Middle Ages and the Renaissance’. Yearbook of the Alamire Foundation, 6 (2007), 7798.Google Scholar
Foulechat, Denis, trans. Éthique chrétienne et philosophies antiques. Le ‘Policratique’ de Jean de Salisbury, livres VI et VII. Ed. Brucker, Charles. Geneva: Droz, 2013.Google Scholar
Foulechat, Denis, trans. Le Policratique de Jean de Salisbury (1372), livres I–III. Ed. Brucker, Charles. Geneva: Droz, 1994.Google Scholar
Foulechat, Denis, trans. Le Policratique de Jean de Salisbury (1372), livre V. Ed. Brucker, Charles. Geneva: Droz, 2006.Google Scholar
Foulechat, Denis, trans. Tyrans, princes et prêtres: Jean de Salisbury, ‘Policratique’ IV et VIII. Ed. Brucker, Charles. Le moyen français 21. Montréal: CERES, 1987.Google Scholar
Franco, de Colonia. Ars cantus mensurabilis. Ed. Reaney, Gilbert and Gilles, André. Corpus scriptorum de musica 18. Dallas: American Institute of Musicology, 1974.Google Scholar
Freccero, John. In Dante’s Wake: Reading from Medieval to Modern in the Augustinian Tradition, ed. Callegari, Danielle and Swain, Melissa. Fordham University Press, 2015.Google Scholar
Fuller, Sarah. ‘On Sonority in Fourteenth-Century Polyphony: Some Preliminary Reflections’. Journal of Music Theory, 30 (1986), 3570.Google Scholar
Fuller, Sarah. ‘Organum-discantus-contrapunctus in the Middle Ages’. In The Cambridge History of Western Music Theory, ed. Christensen, Thomas, 477502. Cambridge University Press, 2002.Google Scholar
Fuller, Sarah. ‘A Phantom Treatise of the Fourteenth Century? The Ars nova. Journal of Musicology, 4 (1985), 2350.Google Scholar
Fuller, Sarah. ‘Tendencies and Resolutions: The Directed Progression in Ars Nova Music’. Journal of Music Theory, 36 (1992), 229–30.Google Scholar
Gallo, F. Alberto. ‘Die Notationslehre im 14. und 15. Jahrhundert’. In Die Mittelalterliche Lehre von der Mehrstimmigkeit, ed. Zaminer, Frieder, 257356. Geschichte der Musiktheorie 5. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984.Google Scholar
Gallo, F. Alberto. La teoria della notazione in Italia dalla fine del XIII all’inizio del XV secolo. Antiquae Musicae Italicae Subsidia Theoretica. Bologna: Tamari, 1966.Google Scholar
Géraud, Hercule. Chronique latine de Guillaume de Nangis de 1113 à 1300 avec les continuations de cette chronique de 1300 á 1368, vol. ii. Paris: Société de l’histoire de France, 1843.Google Scholar
Glorieux, Palémon, ed. Aux origines de la Sorbonne: vol. i Robert de Sorbon, l’homme, le collège, les documents; vol. ii Le cartulaire, edition critique avec introduction, index et plans. Paris: J. Vrin, 1966, 1968.Google Scholar
Godfrey of Fontaines. Les Quodlibets de Godefroid de Fontaines. Ed. Wulf, Maurice de and Hoffmans, Jean. Les philosophes belges: textes et études 3. Louvain: L’institut supérieur de philosophie de l’université, 1904–37.Google Scholar
Golb, Norman. The Jews in Medieval Normandy: A Social and Intellectual History. Cambridge University Press, 1998.Google Scholar
Göllner, Marie Louise. ‘Guillaume de Machaut: Notation and the Compositional Process’. Anuario, 56 (2001), 2131.Google Scholar
Gómez, Maria Carmen. ‘Une version a cinq voix du motet Apollinis Eclipsatur/Zodiacum Signis dans le Manuscrit E-BCEN 853’. Musica Disciplina, 39 (1985), 544.Google Scholar
Gould, Stephen Jay. Bully for Brontosaurus: Reflections in Natural History. New York: W. W. Norton, 1991.Google Scholar
Gozzi, Marco. ‘New Light on Italian Trecento Notation: Part 1: Sections I–IV.1’. Recercare, 13 (2001), 578.Google Scholar
de Machaut, Guillaume. The Fountain of Love [La Fonteinne Amoureuse]. Ed. Palmer, R. Barton. Garland Library of Medieval Literature. New York and London: Garland Publishing, 1993.Google Scholar
de Machaut, Guillaume. Le Jugement du roy du Behaigne and Remede de Fortune. Ed. and trans. Wimsatt, James and Kibler, William, music ed. Baltzer, Rebecca A.. Athens and London: University of Georgia Press, 1988.Google Scholar
Gundissalinus Dominicus. De unitate et uno. Ed. and trans. Fidora, A. and Niederberger, A.. In Von Einen zum Vielen – Der neue Aufbruch der Metaphysik im 12. Jahrhundert, 6679. Klostermann: Frankfurt am Main, 2002.Google Scholar
Günther, Ursula. ‘Das Ende der ars nova. Die Musikforschung, 16 (1963), 105–20.Google Scholar
Günther, Ursula. ‘The Fourteenth-Century Motet and its Development’. Musica Disciplina, 12 (1958), 2758.Google Scholar
Günther, Ursula. The Motets of the Manuscripts Chantilly: Museé condé, 564 (olim 1047) and Modena, Biblioteca estense, [alpha]. M. 5, 24 (olim lat. 568). Corpus mensurabilis musicae 39. American Institute of Musicology, 1965.Google Scholar
Gushee, Lawrence. ‘Jehan des Murs and his Milieu’. In Musik – und die Geschichte der Philosophie und Naturwissenschaften im Mittelalter: Fragen zur Wechselwirkung von ‘Musica’ und ‘Philosophia’ im Mittelalter, Studien und Texte zur Geistesgeschichte des Mittelalters, ed. Hentschel, Frank, 339–72. Leiden: Brill, 1998.Google Scholar
Gushee, Lawrence. ‘New Sources for the Biography of Johannes de Muris’. Journal of the American Musicological Society, 22 (1969), 326.Google Scholar
Gushee, Lawrence. et al. ‘Muris, Johannes de’. In Grove Music Online. Oxford Music Online. Oxford University Press. Available at www.oxfordmusiconline.com/subscriber/article/grove/music/14237.Google Scholar
Haas, Max. ‘Musik zwischen Mathematik und Physik: Zur Bedeutung der Notation in den “Notitia artis musicae” des Johannes de Muris (1321)’. In Festschrift für Arno Volk, ed. Dahlhaus, Carl and Oesch, Hans, 3146. Cologne: Musikverlag Gerig, 1974.Google Scholar
Haas, Max. ‘Die Musiklehre im 13. Jahrhundert von Johannes de Garlandia bis Franco’. In Die mittelalterliche Lehre von Mehrstimmigkeit, ed. Zaminer, Frieder, 89159. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984.Google Scholar
Haas, Max. ‘Studien zur mittelalterlichen Musiklehre I: Eine Übersicht über die Musiklehre im Kontext der Philosophie des 13. und frühen 14. Jahrhunderts’. Forum musicologum, 3 (1982), 323456.Google Scholar
Haines, John and Patritica, DeWitt. ‘Johannes De Grocheio and Aristotelian Natural Philosophy’. Early Music History, 27 (2008), 4798.Google Scholar
Hamilton, Elina. ‘Philippe de Vitry in England: Musical Quotations in the Quatuor principalia and the Gratissima Tenors’, Studi musicali (forthcoming).Google Scholar
Hamilton, Elina. ‘Walter of Evesham Abbey and the Intellectual Milieu of Fourteenth-Century English Music Theory’. PhD diss., Bangor University (2014).Google Scholar
Hamilton, Tracy Chapman. ‘Pleasure, Politics, and Piety: The Artistic Patronage of Marie de Brabant’. PhD diss., The University of Texas at Austin (2004).Google Scholar
Hammond, Frederick. ‘Odington, Walter (fl. c. 1280–1301)’. In Oxford Dictionary of National Biography. Oxford University Press, 2004. Available at www.oxforddnb.com/view/article/28631.Google Scholar
Harper, Richard I. ‘The Kalendarium Regine of Guillaume de St.-Cloud’. PhD diss., Emory University (1966).Google Scholar
Harrison, Frank Ll. Musicorum Collegio: Fourteenth-Century Musicians’ Motets. Monaco: Éditions de l’Oiseau-Lyre, 1986.Google Scholar
Hartt, Jared C.The Problem of the Vitry Corpus: Sonority, Kinship, Attribution’, Music Theory & Analysis, 4 (2017), 192228.Google Scholar
Hartt, Jared C.Rehearing Machaut’s Motets: Taking the Next Step in Understanding Sonority’. Journal of Music Theory, 54 (2010), 179234.Google Scholar
Heidarzadeh, Tofigh. A History of Physical Theories of Comets, from Aristotle to Whipple. Archimedes: New Studies in the History and Philosophy of Science and Technology, vol. 19. Springer Science and Business Media, 2008.Google Scholar
Hentschel, Frank. ‘Johannes Boens Schamesröte und die zweifelhaften Gesangskünste der Alemanni’. In Musik und Gruppenzugehörigkeit im Mittelalter. Politische und regionale Gemeinschaftsbegriffe im Musikschrifttum, 900–1400, ed. Hentschel, Frank, 237–8. Berlin and Boston: de Gruyter, 2016.Google Scholar
Hentschel, Frank. Sinnlichkeit und Vernunft in der mittelalterlichen Musiktheorie: Strategien der Konsonanzwertung und der Gegenstand der musica sonora um 1300. Beihefte zum Archiv für Musikwissenschaft 47. Stuttgart: F. Steiner, 2000.Google Scholar
Hentschel, Frank. ‘Die Unmöglichkeit der Teilung des Ganztones in Zwei Gleiche Teile und der Gegenstand der Musica Sonora um 1300’. In Musik – und die Geschichte der Philosophie und Naturwissenschaften im Mittelalter: Fragen zur Wechselwirkung von ‘Musica’ und ‘Philosophia’ im Mittelalter, ed. Hentschel, Frank, 3960. Leiden: Brill, 1998.Google Scholar
Hentschel, Frank. ‘Von der gefühlten zur gemessenen Zeit. Die Entstehung der Mensuralmusik und die Erfindung der mechanischen Uhr’. Acta musicologica, 86 (2014), 530.Google Scholar
Hentschel, Frank. ed. Musik – und die Geschichte der Philosophie und Naturwissenschaften im Mittelalter: Fragen zur Wechselwirkung von ‘Musica’ und ‘Philosophia’ im Mittelalter. Studien und Texte zur Geistesgeschichte des Mittelalters. Leiden: Brill, 1998.Google Scholar
de Moravia, Hieronymus. Ars musica. Ed. Cserba, Simon. Regensburg: Pustet, 1935.Google Scholar
Holford-Strevens, Leofranc. ‘Fauvel Goes to School’. In Citation and Authority in Medieval and Renaissance Musical Culture: Learning From the Learned, ed. Clark, Suzannah and Eva Leach, Elizabeth, 5966. Woodbridge, UK and Rochester, NY: Boydell Press, 2005.Google Scholar
Howlett, David. ‘Apollinis eclipsatur: Foundation of the “collegium musicorum”’. In Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned, ed. Clark, Suzannah and Leach, Elizabeth Eva, 152–9. Woodbridge: Boydell & Brewer, 2005.Google Scholar
Huglo, Michel. ‘La place du Tractatus de Musica dans l’histoire de la théorie musicale du XIIIe siècle: étude codicologique’. In Jérôme de Moravie: un théoricien de la musique dans le milieu intellectuel parisien du XIIIe siècle, ed. Meyer, Christian, 2342. Paris: Créaphis, 1992.Google Scholar
Hüschen, Heinrich, ed. Das Cantuagium des Heinrich Eger von Kalkar. Beiträge zur Rheinischen Musikgeschichte 2. Köln: Staufen, 1952.Google Scholar
Husson, Matthieu. ‘L’astronomie alphonsine dans l’Expositio intentionis regis Alfonsii circa tabulas ejus de Jean de Murs’. Archives d’histoire doctrinale et littéraire du Moyen Âge, 78 (2011), 229–45.Google Scholar
Husson, Matthieu. ‘Exploring the Temporality of Complex Computational Practice: Two Eclipse Notes by John of Murs in the ms Escorial O II 10’. Centaurus, 58 (2016), 4665.Google Scholar
Isidore of Seville. Etymologiarum sive originum libri xx. Ed. Lindsay, R. M.. 2 vols. Oxford University Press, 1911.Google Scholar
Jacobi Leodiensis Speculum musicae. Ed. Bragard, R.. Corpus scriptorum de musica 3. Rome: American Institute of Musicology, 1955–73.Google Scholar
Jacobi Leodiensis Tractatus de consonantiis musicalibus, Tractatus de intonatione tonorum, Compendium de musica. Ed. van Waesberghe, Joseph Smits, Vetter, Eddie, and Visser, Erik. Divitiae musicae artis, A/IXa. Buren: Knuf, 1988.Google Scholar
de Ispania, Jacobus. The Mirror of Music: Book the Seventh. Trans. Wegman, Rob C.. Lexington, KY: Lamotte, 2017.Google Scholar
Jean des Murs. Ars practica mensurabilis [= Libellus]. In Ars practica mensurabilis cantus secundum Iohannem de Muris: Die Recensio maior des sogenannten Libellus practice cantus mensurabilis. Ed. Berktold, Christian. der Musikhistorischen, Veröffentlichungen Kommission 14. München: Bayerische Akademie der Wissenschaften; C. H. Beck, 1999.Google Scholar
Jean des Murs. Compendium musicae in Notitia artis musicae in Johannis de Muris Notitia artis musicae et Compendium musicae practicae; Petrus de Sancto Dionysio Tractatus de musica. Ed. Michels, Ulrich. de musica, Corpus scriptorum 17. Dallas: American Institute of Musicology, 1972.Google Scholar
Jean des Murs. De Arte Mensurandi. A Geometrical Handbook of the Fourteenth Century. Ed. Busard, Hubert L. L.. Stuttgart: F. Steiner, 1998.Google Scholar
Jean des Murs. Epistola super reformatione antiqui kalendarii. Ein Beitrag zur Kalenderreform im 14. Jahrhundert. Ed. Gack-Scheiding, Christine. Germaniae, Monumenta Historica. Studien und Texte 11. Hanover: Hahnsche Buchhandlung, 1995.Google Scholar
Jean des Murs. Musica speculativa. In Die Musica speculativa des Johannes de Muris: Kommentar zur Überlieferung und kritische Edition. Ed. Falkenroth, Christoph. Archiv für Musikwissenschaft, Beihefte zum 34. Stuttgart: F. Steiner, 1992.Google Scholar
Jean des Murs. Musica (speculativa) Johannis de Muris. Ed. Wissenschaftliche Abhandlungen, Susan Fast 61. Ottawa: Institute of Mediaeval Music, 1994.Google Scholar
Jean des Murs. Notitia artis musicae in Johannis de Muris Notitia artis musicae et Compendium musicae; Petrus de Sancto Dionysio Tractatus de musica. Ed. Michels, Ulrich. de musica, Corpus scriptorum 17. Dallas: American Institute of Musicology, 1972.Google Scholar
Jean des Murs. Quadripartitum numerorum. In Le Quadripartitum numerorum de Jean de Murs: Introduction et édition critique. Ed. L’Huillier, Ghislaine. Mémoires et documents publiés par la Société de l’École des chartes 32. Genève: Droz, 1990.Google Scholar
Jeffery, Peter. ‘A Four-Part In Seculum Hocket and a Mensural Sequence in an Unknown Fragment’. Journal of the American Musicological Society, 37 (1984), 148.Google Scholar
Johannes, de Garlandia. De mensurabili musica: kritische Edition mit Kommentar und Interpretation der Notationslehre. 2 vols. Ed. Erich Reimer. Beihefte zum Archiv für Musikwissenschaft 1011. Wiesbaden: F. Steiner, 1972.Google Scholar
Johannes, de Grocheio. Ars musice. Ed. and trans. Mews, Constant J., Crossley, John N., Jeffreys, Catherine, McKinnon, Leigh, and Williams, Carol J.. TEAMS Varia. Kalamazoo, Michigan: Medieval Institute Publications, 2012.Google Scholar
Scotus, John Duns. Ordinatio. Ed. Balić, Carl et al. Opera omnia, vols. ix. Rome: Vatican Scotistic Commission, 1950–.Google Scholar
John of Salisbury. Metalogicon. Ed. Hall, J. B. and Keats-Rohan, K. S. B.. Corpus Christianorum Continuatio Medievalis 98. Turnhout: Brepols, 1991.Google Scholar
John of Salisbury. The Metalogicon of John of Salisbury: Twelfth Century Defense of the Verbal and Logical Arts of the Trivium. Trans. with an introduction and notes by Daniel D. McGarry. Berkeley and Los Angeles: University of California Press, 1962.Google Scholar
John of Tewkesbury. Quatuor principalia. Ed. in Aluas, Luminata F., ‘The “Quatuor principalia musicae”: A Critical Edition and Translation, with Introduction and Commentary’. PhD diss., Indiana University (1996), 403–11, English trans., 668–75.Google Scholar
Kaye, Joel. Economy and Nature in the Fourteenth Century: Money, Market Exchange, and the Emergence of Scientific Thought. Cambridge University Press, 1998.Google Scholar
Keane, Marguerite A.Collaboration in the Hours of Jeanne de Navarre’. In Jean Pucelle: Innovation and Collaboration in Manuscript Painting, ed. Pyun, K. and Russakoff, A., 131–48. Studies in Medieval and Early Renaissance Art History. London and Turnhout: Harvey Miller/Brepols, 2013.Google Scholar
Kremer, Richard L. ‘John of Murs and Syzygy Methods: A Computational Approach that did not Enter the Parisian Alfonsine Tables’. Paper presented at the conference ‘Jean (Jehan) des Murs: Quadrivial Science in the Fourteenth Century’, All Souls College, Oxford, 15 June 2017.Google Scholar
Kremer, Richard L.John of Murs, Wenzel Faber and the Computation of True Syzygy in the Fourteenth and Fifteenth Centuries’. In Mathematics Celestial and Terrestrial: Festschrift für Menso Folkerts zum 65. Geburtstag, ed. Dauben, J. W., Kirschner, S., Kühne, A., Kunitzsch, P., and Lorch, R. P., 147–60. Stuttgart: Wissenschaftliche Verlagsgesellschaft, 2008.Google Scholar
Kügle, Karl. ‘Die Fragmente Oxford, All Souls 56 und die mensural notierte Mehrstimmigkeit in Köln um 1400: Ein Zwischenbericht’. In Musik der mittelalterlichen Metropole: Räume, Identitäten und Kontexte der Musik in Köln und Mainz, ca. 900–1400, Tagungsbericht Mainz/Köln, Oktober 2014, Ed. Kolb, Fabian, 301–24. Beiträge zur rheinischen Musikgeschichte 179. Berlin and Kassel: Merseburger, 2016.Google Scholar
Kügle, Karl. The Manuscript Ivrea, Biblioteca capitolare 115: Studies in the Transmission and Composition of Ars Nova Polyphony. Wissenschaftliche Abhandlungen 69. Ottawa: Institute of Mediaeval Music, 1997.Google Scholar
Kügle, Karl. ‘Vitry, Philippe de’. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, ed. Finscher, Ludwig, cols. 5867. Kassel and New York: Bärenreiter, 1994 –2008.Google Scholar
Kuhn, Thomas S. ‘The Road since Structure’. In The Road since Structure: Philosophical Essays, 1970–1993, ed. Conant, J. and Haugeland, J., 98–9. The University of Chicago Press, 2000.Google Scholar
Kuhn, Thomas S. The Structure of Scientific Revolutions. 50th Anniversary Edition, with an Introductory Essay by Ian Hacking. 4th edn. Chicago and London: The University of Chicago Press, 2012.Google Scholar
Lachaud, Frédérique. ‘Filiation in Context: The Medieval Afterlife of the Policraticus’. In A Companion to John of Salisbury, ed. Grellard, Christophe and Lachaud, Frédérique, 375438. Leiden: Brill, 2015.Google Scholar
Lagerlund, Henrik. ‘Material Substance’. In The Oxford Handbook of Medieval Philosophy, ed. Marenbon, John, 468–85. Oxford University Press, 2012.Google Scholar
Lakatos, Imre and Musgrave, Alan, eds. Criticism and the Growth of Knowledge. Proceedings of the International Colloquium in the Philosophy of Science, London, 1965. Cambridge University Press, 1970.Google Scholar
Lambertus, . Ars musica. In The ‘Ars musica’ attributed to Magister Lambertus/Aristoteles: A New Edition, Translation, and Commentary. Ed. Meyer, Christian, trans. Desmond, Karen. RMA Monographs 27. Farnham: Ashgate, 2015.Google Scholar
Leach, Elizabeth Eva. ‘Counterpoint and Analysis in Fourteenth-Century Song’. Journal of Music Theory, 44 (2000), 4579.Google Scholar
Leach, Elizabeth Eva. Guillaume de Machaut: Secretary, Poet, Musician. Ithaca, NY: Cornell University Press, 2011.Google Scholar
Leach, Elizabeth Eva. Sung Birds: Music, Nature, and Poetry in the later Middle Ages. Ithaca, NY: Cornell University Press, 2007.Google Scholar
Leech-Wilkinson, Daniel. Compositional Techniques in the Four-Part Isorhythmic Motets of Philippe de Vitry and his Contemporaries. Outstanding Dissertations in Music from British Universities. New York: Garland, 1989.Google Scholar
Leech-Wilkinson, Daniel. ‘The Emergence of ars nova’. Journal of Musicology, 13 (1995), 285317.Google Scholar
Leech-Wilkinson, Daniel. ‘Related Motets from Fourteenth-Century France’. Proceedings of the Royal Musical Association, 109 (1982), 122.Google Scholar
Leech-Wilkinson, Daniel. ‘Written and Improvised Polyphony’. In Polyphonies de tradition orale: histoire et traditions vivants, ed. Meyer, Christian, 172–82. Actes du Colloque de Royaumont. Paris: Créaphis, 1993.Google Scholar
Lefferts, Peter M. An Anonymous Treatise of the Theory of Frater Robertus de Brunham’. In Quellen und Studien zur Musiktheorie des Mittelalters, ed. Bernhard, Michel, 217–51. Munich: C. H. Beck, 2001.Google Scholar
Lefferts, Peter M. The Motet in England in the Fourteenth Century. Studies in Musicology 94. Ann Arbor, MI: UMI Research Press, 1983.Google Scholar
Leitmeir, Christian Thomas. ‘Arguing with Spirituality against Spirituality. A Cistercian Apologia for Mensural Music by Petrus dictus Palma ociosa (1336)’. Archa verbi. Yearbook for the Study of Medieval Theology, 4 (2007), 155–95.Google Scholar
Lerch, Irmgard. Fragmente aus Cambrai: Ein Beitrag zur Rekonstruktion einer Handschrift mit spätmittelalterlicher Polyphonie. 2 vols. Göttinger musikwissenschaftliche Arbeiten. Kassel and New York: Bärenreiter, 1987.Google Scholar
Levi ben Gerson’s Prognostication for the Conjunction of 1345. Ed. Goldstein, Bernard R. and Pingree, David. Transactions of the American Philosophical Society Held at Philadelphia for Promoting Useful Knowledge 80/6. Philadelphia: The American Philosophical Society, 1990.Google Scholar
Lochrie, Karma. ‘Mystical Acts, Queer Tendencies’. In Constructing Medieval Sexuality, ed. Lochrie, Karma, McCracken, Peggy, and Schultz, James Alfred, 180200. Medieval Cultures 11. London and Minneapolis: University of Minnesota Press, 1997.Google Scholar
Seneca, Lucius Annaeus. L. Annaei Senecae ad Lucilium Epistulae Morales. Vols. 1–2, ed. Leighton Durham Reynolds. Oxford University Press, 1965.Google Scholar
Seneca, Lucius Annaeus Moral Epistles. Trans. Gummere, Richard M.. The Loeb Classical Library. Cambridge, MA: Harvard University Press, 1917–25.Google Scholar
Ludwig, Friedrich. Guillaume de Machaut: Musikalische Werke. Vol. iii, Motetten. Publikationen älterer Musik 4/2. Leipzig: Breitkopf & Härtel, 1929.Google Scholar
Ludwig, Friedrich. Repertorium organorum recentioris et motetorum vetustissimi stili. Ed. Dittmer, Luther A.. 2 vols. in 3. New York: Institute of Mediaeval Music; and Hildesheim: G. Olms, 1964–78.Google Scholar
Luthy, C. and Smets, A.. ‘Words, Lines, Diagrams, Images: Towards a History of Scientific Imagery’. Early Science and Medicine, 14 (2009), 398439.Google Scholar
Mabille, Madeleine. ‘Pierre de Limoges, copiste de manuscrits’. Scriptorium, 24 (1970), 45–7.Google Scholar
Mancha, José Luis. ‘Astronomical Uses of Pinhole Images in William of Saint-Cloud’s Almanach planetarum (1292)’. Archive for History of Exact Sciences, 43 (1992), 275–98.Google Scholar
Marchetto, da Padova. Pomerium arte musicae mensuratae. Ed. Corpus scriptorum de musica, G. Vecchi 6. Rome: American Institute of Musicology, 1961.Google Scholar
Maw, David. ‘“Je le temoin en mon chant”: The Art of Diminution in the Petronian Triplum’. In The Montpellier Codex: The Final Fascicle – Contents, Contexts, Chronologies, ed. Bradley, Catherine A. and Desmond, Karen, 161–83. Farnham: The Boydell Press, 2018.Google Scholar
Maw, David. ‘“Trespasser mesure”: Meter in Machaut’s Polyphonic Songs’. The Journal of Musicology, 21 (2004), 46126.Google Scholar
McKinnon, James, ed. Strunk’s Source Readings in Music History. Vol. ii, The Early Christian Period and the Latin Middle Ages, ed. Treitler, Leo. Rev. edn. New York: W. W. Norton, 1998.Google Scholar
Meyer, Christian. Jean de Murs: Écrits sur la musique. Sciences de la musique. Paris: Centre National de la Recherche Scientifique (CNRS), 2000.Google Scholar
Michels, Ulrich. ‘Der Musiktraktat des Anonymus OP. Ein frühes Theoretiker-Zeugnis der Ars nova’. Archiv für Musikwissenschaft, 26 (1969), 4962.Google Scholar
Michels, Ulrich. Die Musiktraktate des Johannes de Muris, vol. viii, Beihefte zum Archiv für Musikwissenschaft. Wiesbaden: F. Steiner, 1970.Google Scholar
Miolo, Laure. ‘Le fonds scientifique d’un collège de théologie: le cas de la bibliothèque du collège de Sorbonne (1257–1500)’. PhD diss., Université Lumière Lyon 2 (2017).Google Scholar
Miolo, Laure. ‘In Quest of Jean des Murs’s Library’. Paper presented at the conference ‘Jean (Jehan) des Murs: Quadrivial Science in the Fourteenth Century’. All Souls College, Oxford, 15 June 2017.Google Scholar
Ms. Oxford, Bodley 842 (Willelmus), Breviarium regulare musicae. Ms. British Museum, Royal 12. C. VI, Tractatus de figuris sive de notis. Johannes Torkesey, Declaratio trianguli et scuti. Ed. Reaney, G.. Corpus scriptorum de musica 12. Rome: American Institute of Musicology, 1966.Google Scholar
Murdoch, John E. Album of Science: Antiquity and Middle Ages. New York: Charles Scribner’s Sons, 1984.Google Scholar
Murdoch, John E.From Social into Intellectual Factors: An Aspect of the Unitary Character of Late Medieval Learning’. In The Cultural Context of Medieval Learning: Proceedings of the First International Colloquium on Philosophy, Science and Theology in the Middle Ages, September 1973, ed. Murdoch, John E. and Sylla, Edith D., 271348. Dordrecht and Boston: D. Reidel, 1975.Google Scholar
Murdoch, John E.Mathesis in philosophiam scholasticam introducta: The Rise and Development of the Application of Mathematics in Fourteenth-Century Philosophy and Theology’. In Arts libéraux et philosophie au moyen âge: actes du quatrième congrés international de philosophie médiévale, 215–65. MontrealInstitut d’études médiévales; Paris – Librairie philosophique: J. Vrin, 1969.Google Scholar
Murdoch, John E. and Sylla, Edith D.. ‘The Science of Motion’. In Science in the Middle Ages, ed. Lindberg, D. C., 206–64. Chicago and London: The University of Chicago Press, 1978.Google Scholar
Nádas, John L. and Cuthbert, Michael Scott. ‘Introduction’. In Ars nova: French and Italian Music in the Fourteenth Century, ed. Nádas, John L. and Scott Cuthbert, Michael, xiii–xxiv. Farnham and Burlington: Ashgate, 2009.Google Scholar
North, John D.The Alfonsine Tables in England’. In Stars, Mind and Fate: Essays in Ancient and Mediaeval Cosmology, 327–58. London and Ronceverte: The Hambledon Press, 1989. Originally published in ΠΡΙΣΜΑΤΑ: Naturwissenschaftsgeschichtliche Studien, ed. Y. Maeyama and W. G. Saltzer, 269–301 (Wiesbaden: F. Steiner, 1977).Google Scholar
North, John D.Chaucer’s Universe. Oxford: Clarendon Press, 1988.Google Scholar
North, John D. Cosmos: An Illustrated History of Astronomy and Cosmology. The University of Chicago Press, 2008.Google Scholar
North, John D. God’s Clockmaker: Richard of Wallingford and the Invention of Time. London and New York: Hambledon Continuum, 2005.Google Scholar
Nothaft, C. Philipp, E.The Astronomical Data in the Très Riches Heures and their Fourteenth-Century Source’. Journal for the History of Astronomy, 46 (2015), 113–29.Google Scholar
Nothaft, C. Philipp, E. ‘The Chronological TreatiseAutores Kalendarii” of 1317, Attributed to John of Murs: Text and Introduction’. Cahiers de l’Institut du Moyen-Âge Grec et Latin, 82 (2013), 189.Google Scholar
Nothaft, C. Philipp, E.Critical Analysis of the Alfonsine Tables in the Fourteenth Century: The Parisian Expositio tabularum Alfonsii of 1347’. Journal for the History of Astronomy, 45 (2014), 224.Google Scholar
Nothaft, C. Philipp, E.John of Murs and the Treatise Autores kalendarii (1317): A Problem of Authorship’. Sudhoffs Archiv: Zeitschrift für Wissenschaftsgeschichte, 99 (2015), 209–29.Google Scholar
Nothaft, C. Philipp, E.Science at the Papal Palace: Clement VI and the Calendar Reform Project of 1344/45’. Viator, 46 (2015), 277302.Google Scholar
Nothaft, C. Philipp, E.Walter Odington’s De etate mundi and the Pursuit of a Scientific Chronology in Medieval England’, Journal of the History of Ideas, 77 (2016), 183201.Google Scholar
Page, Christopher. Discarding Images: Reflections on Music and Culture in Medieval France. Oxford University Press, 1993.Google Scholar
Page, Christopher. ‘Jerome of Moravia on the Rubeba and Viella’. The Galpin Society Journal, 32 (1979), 7798.Google Scholar
Panofsky, Erwin. ‘Who is Jan van Eyck’s “Tymotheos”?’. Journal of the Warburg and Courtauld Institutes, 12 (1949), 8090.Google Scholar
Parkes, Malcolm. Pause and Effect: An Introduction to the History of Punctuation in the West. Berkeley and Los Angeles: University of California Press, 1993.Google Scholar
Pasnau, Robert. ‘Form and Matter’. In The Cambridge History of Medieval Philosophy, 2 vols., ed. Pasnau, Robert and van Dyke, Christina, vol. i, 635–46. Cambridge University Press, 2014.Google Scholar
Pedersen, Fritz S.William of Saint-Cloud: Almanach Planetarum – An Edition of the Canons, a Few Samples from the Tables, and a Foray into the Numbers’. Cahiers de l’Institut du Moyen-Âge Grec et Latin, 83 (2014), 1133.Google Scholar
Pedersen, Olaf. ‘Peter Philomena of Dacia, also known as Petrus Dacus, Petrus Danus, Peter Nightingale’. In Complete Dictionary of Scientific Biography, vol. x, 540–2. Detroit: Charles Scribner’s Sons, 2008.Google Scholar
Pesce, Dolores. ‘A Case for Coherent Pitch Organization in the Thirteenth-Century Double Motet’. Music Analysis, 9 (1990), 287318.Google Scholar
Petri Abaelardi opera theologica. Ed. Buytaert, E. M.. Corpus christianorum continuatio mediaevalis 12. Turnhout: Brepols, 1969.Google Scholar
Petrus dictus Palma ociosa. Compendium de discantu mensurabili. Ed. in Johannes Wolf, ‘Ein Beitrag zur Diskantlehre des 14. Jahrhunderts’, Sammelbände der Internationalen Musikgesellschaft, 15 (1913–14), 505–34.Google Scholar
Petrus Picardus, Ars motettorum compilata breviter. Anonymus, Ars musicae mensurabilis secundum Franconem (Mss. Paris, Bibl. Nat., lat. 15129; Uppsala, Universiteitsbibl., C 55). Anonymus, Compendium musicae mensurabilis artis antiquae (Ms. Faenza, Biblioteca Comunale 117). Ed. Alberto Gallo, F., Reaney, Gilbert, and Gilles, André. Corpus scriptorum de musica 15. Dallas: American Institute of Musicology, 1971.Google Scholar
Philippi de Vitriaco Ars nova. Ed. Reaney, Gilbert, Gilles, André, and Maillard, Jean. Corpus scriptorum de musica 8. Rome: American Institute of Musicology, 1964.Google Scholar
Pieragostini, Renata. ‘Augustinian Networks and the Chicago Music Theory Manuscript’. Plainsong and Medieval Music, 22 (2013), 6585.Google Scholar
Pliny the Elder. Natural History. Ed. and trans. Rackham, H., et al. 10 vols. Loeb Classical Library. Cambridge, MA: Harvard University Press, 1938 –62.Google Scholar
Plumley, Yolanda. The Art of Grafted Song: Citation and Allusion in the Age of Machaut. Oxford University Press, 2013.Google Scholar
Porres, Beatriz and Chabás, José, ‘John of Murs’s Tabulae permanentes for Finding True Syzygies’. Journal for the History of Astronomy, 32 (2001), 6372.Google Scholar
Poulle, Emmanuel. ‘The Alfonsine Tables and Alfonso X of Castille’. Journal for the History of Astronomy, 19 (1988), 97113.Google Scholar
Poulle, Emmanuel. ‘Les astronomes parisiens au XIVe siècle et l’astronomie alphonsine’. Histoire littéraire de la France, 43 (2005),154.Google Scholar
Poulle, Emmanuel. ‘Jean de Murs et les tables alphonsines’. Archives d’histoire doctrinale et littéraire du moyen âge, 47 (1980), 241–71.Google Scholar
Poulle, Emmanuel. ‘John of Murs’. In Complete Dictionary of Scientific Biography, vol. vii, 128–33. Detroit: Charles Scribner’s Sons, 2008.Google Scholar
Poulle, Emmanuel. ‘William of Saint-Cloud’. In Complete Dictionary of Scientific Biography, vol. xiv, 389–91. Detroit: Charles Scribner’s Sons, 2008.Google Scholar
Pruckner, Hubert. ‘Johannes de Muris, Pronosticatio super coniunctione Saturni’. In Studien zu den astrologischen Schriften des Heinrich von Langenstein, 222–6. Studien der Bibliothek Warburg 14. Leipzig and Berlin: B. G. Teubner, 1933.Google Scholar
Rico, Gilles. ‘Music in the Arts Faculty of Paris in the Thirteenth and Early Fourteenth Centuries’. D. Phil. diss., Oxford University (2005).Google Scholar
Ristory, Heinz. Denkmodelle zur französischen Mensuraltheorie des 14. Jahrhunderts. Musicological Studies 81. Ottowa: The Institute of Mediaeval Music, 2004.Google Scholar
Ristory, Heinz. ‘Ein Abbreviationstraktat im Umfeld der franconischen und post-franconischen Compendia’. Acta musicologica, 59 (1987), 95110.Google Scholar
Robertson, Anne Walters. ‘Which Vitry? The Witness of the Trinity Motet from the Roman de Fauvel’. In Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance, ed. Pesce, Dolores, 5281. Oxford University Press, 1998.Google Scholar
Robertson, D. W.The Partitura amorosa of Jean de Savoie’. Philological Quarterly, 33 (1954), 19.Google Scholar
Robertus de Handlo, The Rules and Johannes Hanboys, The Summa: A New Critical Text and Translation. Ed. and trans. Lefferts, Peter. Lincoln: University of Nebraska Press, 1991.Google Scholar
Roesner, Edward H. ‘Labouring in the Midst of Wolves: Reading a Group of Fauvel Motets’. Early Music History, 22 (2003), 169245.Google Scholar
Roesner, Edward H. ed. 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. Introduction by François Avril, Nancy Freeman Regalado, and Edward H. Roesner. New York: Broude Brothers, 1990.Google Scholar
Rotuli Parisienses: Supplications to the Pope from the University of Paris, vol. i, 13161349. Ed. Courtenay, William J.. Leiden: Brill, 2002.Google Scholar
Rouse, Richard H.The Early Library of the Sorbonne’. Scriptorium, 21 (1967), 4271.Google Scholar
Saby, Marie-Madeleine. ‘Mathématique et métrologie parisiennes au débu du XIVe siècle: le calcul du volume de la mer d’airain, de Jean de Murs’. Archives d’histoire doctrinale et littéraire du moyen âge, 66 (1991), 197213.Google Scholar
Saby-Rousset, Marie-Madeleine. ‘Les Canons de Jean de Lignères sur les tables astronomiques de 1321: Critique, traduction et étude’. Thesis, École nationale de Chartres, 1987.Google Scholar
Sachs, Curt. Rhythm and Tempo: A Study in Music History. New York: W. W. Norton & Co., 1953.Google Scholar
Salonius, Pippa and Worm, Andrea, eds. The Tree: Symbol, Allegory, and Mnemonic Device in Medieval Art and Thought. International Medieval Research. Turnhout: Brepols, 2014.Google Scholar
Sanders, Ernest H.Duple Rhythm and Alternate Third Mode in the 13th Century’. Journal of the American Musicological Society, 15 (1962), 249–91.Google Scholar
Sanders, Ernest H.The Early Motets of Philippe de Vitry’. Journal of the American Musicological Society, 28 (1975), 2445.Google Scholar
Sanders, Ernest H.The Medieval Motet’. In Gattungen der Musik in Einzeldarstellungen: Gedenkenschrift Leo Schrade, ed. Arlt, Wulf, et al., 497575. Bern and Munich: Francke, 1973.Google Scholar
Sanders, Ernest H. and Lefferts, Peter M.. ‘Petrus de Cruce’. In Grove Music Online. Oxford Music Online. Oxford University Press. Available at www.oxfordmusiconline.com/subscriber/article/grove/music/21491.Google Scholar
Schabel, Chris. ‘John of Murs and Firmin of Beauval’s Letter and Treatise on Calendar Reform for Clement VI’. Cahiers de l’institut du moyen-âge grec et latin, 66 (1996), 187215.Google Scholar
Schrade, Leo. ‘The Chronology of the Ars Nova in France’. In Les colloques de Wégimont II (1955): L’ars nova – Recueil d’études sur la musique du XIVe siècle, ed. Collaer, Paul, 3662 (Paris: Belles Lettres, 1959).Google Scholar
Schrade, Leo. ‘Philippe de Vitry: Some New Discoveries’. The Musical Quarterly, 42 (1956), 330–54.Google Scholar
Seebass, Tilman. ‘The Illustration of Music Theory in the Late Middle Ages: Some Thoughts on its Principles and a Few Examples’. In Music Theory and its Sources: Antiquity and the Middle Ages, ed. Barbera, André, 197234. University of Notre Dame Press, 1990.Google Scholar
Shapiro, Herman. ‘Walter Burley and the Intension and Remission of Forms’. Speculum, 34 (1959), 413–27.Google Scholar
Solar, L., Sankey, H., and Hoyningen-Huene, P., eds. Rethinking Scientific Change and Theory Comparison: Stabilities, Ruptures, Incommensurabilities? Dordrecht: Springer, 2008.Google Scholar
Stephenson, F. Richard. ‘Investigation of Medieval European Records of Solar Eclipses’. Journal for the History of Astronomy, 41 (2010), 95104.Google Scholar
Stoessel, Jason. ‘The Captive Scribe: The Context and Culture of Scribal and Notational Process in the Music of the ars subtilior. PhD diss., 2 vols., University of New England, Armidale (2002).Google Scholar
Stone, Anne. ‘Glimpses of the Unwritten Tradition in Some “Ars Subtilior” Works’. Musica Disciplina, 50 (1996), 5993.Google Scholar
Stones, Alison. ‘The Style and Iconography of Mo folio 350’. In The Montpellier Codex: The Final Fascicle – Contents, Contexts, Chronologies, ed. Bradley, Catherine A. and Desmond, Karen, 6677. Farnham: The Boydell Press, 2018.Google Scholar
Stump, Eleanor. ‘Resurrection, Reassembly, and Reconstitution: Aquinas on the Soul’. In Die menschliche Seele: Brauchen wir den Dualismus?, ed. Niederberger, B. and Runggaldier, E., 151–72. Frankfurt and London: Ontos Verlag, 2006.Google Scholar
Sumption, Jonathon. The Hundred Years War I: Trial by Battle. Philadelphia: University of Pennsylvania Press, 1990.Google Scholar
Swerdlow, Noel M.Alfonsine Tables of Toledo and Later Alfonsine Tables (Essay Review of Chabás and Goldstein, The Alfonsine Tables of Toledo)’. Journal for the History of Astronomy, 35 (2004), 479–84.Google Scholar
Sylla, Edith D.Medieval Concepts of the Latitude of Forms’. Archives d’histoire doctrinale et littéraire du moyen âge, 40 (1973), 223–83.Google Scholar
Sylla, Edith D. ‘The Oxford Calculators and the Mathematics of Motion, 1320–1350: Physics and Measurements by Latitudes’. PhD diss., Harvard University (1970).Google Scholar
Sylla, Edith D.Physics’. In Medieval Latin: An Introduction and Bibliographical Guide, ed. Mantello, F. A. C. and Rigg, A. G., 355–62. Washington, DC: The Catholic University of America Press, 1996.Google Scholar
Tanay, Dorit E.Jehan de Meur’s Musical Theory and the Mathematics of the Fourteenth Century’. Tractrix, 5 (1993), 1743.Google Scholar
Tanay, Dorit E. ‘Music in the Age of Ockham: The Interrelations between Music, Mathematics, and Philosophy in the Fourteenth Century’. PhD diss., University of California (1989).Google Scholar
Tanay, Dorit E. Noting Music, Marking Culture: The Intellectual Context of Rhythmic Notation 1250–1400. Holzeringen: American Institute of Musicology, 1999.Google Scholar
Tanay, Dorit E.The Transition from the Ars Antiqua to the Ars Nova: Evolution or Revolution?’. Musica Disciplina, 46 (1992), 79104.Google Scholar
Taruskin, Richard. Music from the Earliest Notations to the Sixteenth Century. The Oxford History of Western Music, vol. i. New York: Oxford University Press, 2009.Google Scholar
Thomas, Phillip D.Walter of Odington’. In Complete Dictionary of Scientific Biography, vol. xiv, 155–6. Detroit: Charles Scribner’s Sons, 2008.Google Scholar
Thorndike, Lynn. A History of Magic and Experimental Science. Vol iv: Fourteenth and Fifteenth Centuries. New York: Columbia University Press, 1934.Google Scholar
Thorndike, Lynn. ‘Peter of Limoges on the Comet of 1299’. Isis, 36 (1945), 36.Google Scholar
Topper, David. ‘Towards an Epistemology of Scientific Illustration’. In Picturing Knowledge: Historical and Philosophical Problems Concerning the Use of Art in Science, ed. Baigrie, Brian S., 215–59. Toronto: University of Toronto Press, 1996.Google Scholar
Tractatus figurarum/Treatise on Noteshapes: A New Critical Text and Translation on Facing Pages, with an Introduction, Annotations, and indices verborum and nomina et rerum. Ed. Schreur, Philip E.. Greek and Latin Music Theory. Lincoln: University of Nebraska Press, 1989.Google Scholar
Truitt, E. R. Medieval Robots: Mechanism, Magic, Nature, and Art. Philadelphia: University of Pennsylvania Press, 2015.Google Scholar
Vale, Malcolm. The Princely Court: Medieval Courts and Culture in North-West Europe, 1270–1380. Oxford University Press, 2001.Google Scholar
Verboon, Annemieke Rosaline. ‘Lines of Thought: Diagrammatic Representation and the Scientific Texts of the Arts Faculty, 1200–1500’. PhD diss., Universiteit Leiden (2010).Google Scholar
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, ed. Wegman, Rob C. and Vetter, Eddie, 414. Amsterdam: Institute of Musicology, University of Amsterdam, 1987.Google Scholar
Victor, Stephen. ‘Johannes de Muris’ Autograph of the De arte mensurandi’. Isis, 61 (1970), 389–95.Google Scholar
Vivarelli, Carla ‘“Di una pretesa scuola napoletana”: Sowing the Seeds of the Ars nova at the Court of Robert of Anjou’. Journal of Musicology, 24 (2007), 272–96.Google Scholar
Vos, Antonie. The Philosophy of John Duns Scotus. Edinburgh University Press, 2006.Google Scholar
Wathey, Andrew. ‘Auctoritas and the Motets of Philippe de Vitry’. In Citation and Authority in Medieval and Renaissance Musical Culture: Learning from the Learned. Woodbridge and Rochester: Boydell Press, 2005.Google Scholar
Wathey, Andrew. ‘Gervès du Bus, the Roman de Fauvel, and the Politics of the Later Capetian Court’. In Fauvel Studies: Allegory, Chronicle and Image in Paris, Bibliothèque Nationale de France, MS français 146, ed. Bent, Margaret and Wathey, Andrew, 599613. Cahier d’étude médiévales (La science de la nature: théories et pratiques). Oxford University Press, 1998.Google Scholar
Wathey, Andrew. ‘The Marriage of Edward III and the Transmission of French Motets to England’. Journal of the American Musicological Society, 45 (1992), 129.Google Scholar
Wathey, Andrew. ‘The Motet Texts of Philippe de Vitry in German Humanist Manuscripts of the Fifteenth Century’. In Music in the German Renaissance: Sources, Styles, and Contexts, ed. Kmetz, John, 195201. Cambridge University Press, 1994.Google Scholar
Wathey, Andrew. ‘The Motets of Philippe de Vitry and the Fourteenth-Century Renaissance’. Early Music History, 12 (1993), 119–50.Google Scholar
Wathey, Andrew. ‘Philippe de Vitry’s Books’. In Books and Collectors 1200–1700: Essays Presented to A.G. Watson, ed. Carley, James P. and Tite, Colin G. C., 145–52. London: The British Library, 1997.Google Scholar
Wegman, Rob C. ‘Jacobus de Ispania and Liège’. Journal of the Alamire Foundation, 8 (2016), 253–74.Google Scholar
Wegman, Rob C.What is Counterpoint?’ In Wegman, Rob C, Menke, Johannes, and Schubert, Peter, Improvising Early Music, ed. Dirk Moelants, 968. Geschriften van het Orpheus Instituut/Collected Writings of the Orpheus Institute 11. Leuven University Press, 2014.Google Scholar
Weijers, Olga. ‘Le vocabulaire du collège de Sorbonne’. In Vocabulaire des collèges universitaires XIIIe–XVe siècles, ed. Weijers, Olga, 925. Turnhout: Brepols, 1993.Google Scholar
Wilson, Marcus. ‘Seneca’s Letters to Lucilius: A Revaluation’. In Seneca, ed. Fitch, John G., 5983. Oxford University Press, 2008.Google Scholar
Wippel, John F.Godfrey of Fontaines (b. ca. 1250; d. 1306/9), Peter of Auvergne (d. 1303), and John Baconthorpe (d. 1345/48)’. In Individuation in Scholasticism: The Later Middle Ages and the Counter-Reformation, 1150–1650, ed. Gracia, Jorge J. E., 221–56. Albany: SUNY Press, 1994.Google Scholar
Wippel, John F.Godfrey of Fontaines on Intension and Remission of Accidental Forms’. Franciscan Studies, 39 (1979), 316–55.Google Scholar
Wippel, John F. The Metaphysical Thought of Godfrey of Fontaines: A Study in Late Thirteenth-Century Philosophy. Washington, DC: Catholic University of America Press, 1980.Google Scholar
Witkowska-Zaremba, Elżbieta. ‘Between “intellectus”, “visus” and “auditus”: Johannes de Muris’ “Musica speculativa” (1323)’. Paper presented at the conference ‘Jean (Jehan) des Murs: Quadrivial Science in the Fourteenth Century’, All Souls College, Oxford, 15 June 2017.Google Scholar
Witkowska-Zaremba, Elżbieta. Musica Muris i nurt spekulatywny w muzykografii sredniowiecznej (= Musica Muris and Speculative Trend in the Medieval Musicography). Studia Copernicana 32. Warsaw: Wydawn. IHNOiT PAN, 1992.Google Scholar
Wolf, Johannes. ‘Ein anonymer Musiktraktat aus der ersten Zeit der “Ars Nova”’. Kirchenmusikalisches Jahrbuch, 21 (1908), 33–8.Google Scholar
Wolf, Johannes. ‘Ein Breslauer Mensuraltraktat des 15. Jahrhunderts’. Archiv für Musik-wissenschaft, 1 (1918–19), 329–45.Google Scholar
Wood, Diana. Clement VI: The Pontificate and Ideas of an Avignon Pope. Cambridge University Press, 1989.Google Scholar
Woodacre, Elena. The Queens Regnant of Navarre: Succession, Politics, and Partnership, 1274–1512. New York: Palgrave Macmillan, 2013.Google Scholar
Yudkin, Jeremy. ‘The Influence of Aristotle on French University Music Texts’. In Music Theory and its Sources: Antiquity and the Middle Ages, ed. Barbera, André, 173–89. South Bend, IN: University of Notre Dame Press, 1990.Google Scholar
Zavalloni, Richard. Richard de Mediavilla et la controverse sur la pluralité des formes. Louvain: Éditions de l’institut supérieur de philosophie, 1951.Google Scholar
Zayaruznaya, Anna. ‘Evidence of Reworkings in ars nova Motets’. Basler Jahrbuch für historische Musikpraxis 2014 (2017), 155–75.Google Scholar
Zayaruznaya, Anna. ‘Form and Idea in the Ars nova Motet’. PhD diss., Harvard University (2010).Google Scholar
Zayaruznaya, Anna. ‘Hockets as Compositional and Scribal Practice in the ars nova Motet – A Letter from Lady Music’. Journal of Musicology, 30 (2013), 461501.Google Scholar
Zayaruznaya, Anna. The Monstrous New Art: Divided Forms in the Late Medieval Motet. Cambridge University Press, 2015.Google Scholar
Zayaruznaya, Anna. ‘New Voices for Vitry’. Early Music, 46 (2018).Google Scholar
Zayaruznaya, Anna. ‘Quotation, Perfection and the Eloquence of Form: Introducing Beatius/Cum humanum’. Plainsong and Medieval Music, 24 (2015), 129–66.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Karen Desmond, Brandeis University, Massachusetts
  • Book: Music and the <I>moderni,</I> 1300–1350
  • Online publication: 01 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781316711545.014
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Karen Desmond, Brandeis University, Massachusetts
  • Book: Music and the <I>moderni,</I> 1300–1350
  • Online publication: 01 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781316711545.014
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Karen Desmond, Brandeis University, Massachusetts
  • Book: Music and the <I>moderni,</I> 1300–1350
  • Online publication: 01 September 2018
  • Chapter DOI: https://doi.org/10.1017/9781316711545.014
Available formats
×