Table of Contents

Introduction; 1. Songs alive; 2. How (not) to write a motet: the exemplary In virtute/Decens; 3. Motet visions of an apocalyptic statue; 4. Interlude: Nebuchadnezzar's dream; 5. Ars nova and division; Epilogue: the poetics of representation; Appendices: 1. Philippe de Vitry, In virtute/Decens: texts, translations, and music; 2. Philippe de Vitry, Cum statua/Hugo: texts, translations, and music; 3. Philippe de Vitry, Phi millies/O creator: texts, translations, and music; 4. Anonymous, Post missarum/Post misse: texts and translations; 5. Anonymous, Fortune/Ma dolour: texts and translations; 6. Anonymous, Amer/Durement: texts and translations; 7. Philippe de Vitry, Firmissime/Adesto: texts and translations; 8. Anonymous, Beatius/Cum humanum: texts and translations.

Promotional Information

The Monstrous New Art reveals the depth of medieval composers' engagement with monstrous and hybrid creatures and ideas.

About the Author

Anna Zayaruznaya is an Assistant Professor in the Department of Music at Yale University, Connecticut. Her research brings the history of musical forms and notation into dialogue with medieval literature, iconography, and the history of ideas. Her work has appeared in the leading journals of her field, including the Journal of the American Musicological Society and the Journal of Musicology. Her study of musical voice-crossings used to depict the action of the goddess Fortune in the motets of Guillaume de Machaut was awarded the 2011 Van Courtlandt Elliott Prize by the Medieval Academy of America. She has also received awards and fellowships from the American Musicological Society, the Institute for Advanced Study, Princeton, and the Radcliffe Institute of Advanced Studies at Harvard University, Massachusetts, where she was a fellow in 2013–14.

Reviews

'A thoroughly excellent, original, important, and thought-provoking book, which will prove to be of great interest to a broad constituency of readers in musicology.' Elizabeth Eva Leach, University of Oxford

'Zayaruznaya's book provides compelling new insights into one of the most prominent and least understood genres of late-medieval music.' Karl Kügle, Universiteit Utrecht, The Netherlands