Abstracts

The International Machaut Society sponsored two virtual sessions at the International Congress on Medieval Studies on Monday, May 9, and Saturday, May 14.

There’s No Business like Machaut Business (A Roundtable)
Session 42, 11:00 a.m., Monday, May 9

  • A roundtable discussion with Benjamin Albritton, Stanford Univ.; Tamsyn Mahoney-Steel, Univ. of Central Lancashire; Anne J. Stone, Graduate Center, CUNY

Women Making Noise
Session 412, 3:00 p.m., Saturday, May 14

  • Toute Belle and the Construction of the Female Voice in Medieval and Early Modern Sound and Writing
    Kate Maxwell, Univ. of Tromsø The Arctic Univ. of Norway.
  • The Sound of Women in Poetic Soundscapes from the Late Fifteenth Century
    Ciara Ann O’Flaherty, Univ. of Sheffield
  • Aurality: Listening to Criseyde’s Politics of Silence in Chaucer’s Troilus and Criseyde
    Kortney Stern, Indiana Univ.–Bloomington

Other Machaut papers and performances

  • None in 2022

The International Machaut Society sponsored two virtual sessions at the International Congress on Medieval Studies on Saturday, May 15.

Machaut: The Next Generation
Session 417, 1:00 p.m., Saturday, May 15

  • Forming Lyric/Informing Readers in Machaut’s Prologue
    Elizabeth J. Harper, Univ. of Virginia
  • The Seemingly Redundant Notations of Guido’s Or voit tout en aventure
    Philippa Ovenden, Yale Univ.
  • Was Guillaume de Machaut a Great Author? Ambivalent Reflexivity in the Fonteinne amoureuse
    Charles L. Samuelson, Univ. of Colorado–Boulder

Digital Tools for Research and Analysis (A Roundtable)
Session 432, 3:00 p.m., Saturday, May 15

  • A roundtable discussion with Benjamin Albritton, Stanford Univ.; Jennifer Bain, Dalhousie Univ.; Karen Desmond, Brandeis Univ.; Andreas Janke, Univ. Hamburg; and Kate Maxwell, Univ. of Tromsø The Arctic Univ. of Norway.

Other Machaut papers and performances

  • None in 2021

The 2020 International Congress on Medieval Studies was canceled because of the coronavirus pandemic.

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Saturday, May 11. The Society also hosted a luncheon on Saturday, May 11.

Late Medieval Multimedia
Session 342, 10:00 a.m., Saturday, May 11

  • Distracting Ladies: Feminine Diversions and Veiled Lessons Illuminated in the Montpellier Codex and Machaut MS C
    Kathleen Wilson Ruffo, Royal Ontario Museum/Univ. of Toronto
  • Machaut Teaching the Royal Children, a Multimedia Presentation
    Lawrence M. Earp, Univ. of Wisconsin–Madison
  • The Poetics of Melody: Monophonic Song as Courtly Love Method in Machaut’s Remède de Fortune
    Christopher Gobeille, Univ. of California–Los Angeles

Motet Petting ’Zoo: Exploring Medieval Motets with Live Performance (A Workshop)
Session 395, 1:30 p.m., Saturday, May 11

  • A workshop with a live motet performance with Anna Zayaruznaya, Yale Univ.; Meghan P. Quinlan, Uppsala Univ.; William Watson, Yale Univ.; and Jason Jacobs, Roger Williams Univ.

Teaching Machaut’s World (A Roundtable)
Session 460, 3:30 p.m., Saturday, May 11

  • Machaut and the Digital Classroom
    Benjamin Albritton, Stanford Univ.
  • Machaut in Medical Humanities and Disability Studies
    Julie Singer, Washington Univ. in St. Louis
  • Introducing Machaut’s Manuscripts to Undergraduate Students
    Jared C. Hartt, Oberlin College and Conservatory
  • Machaut the Interdisciplinarian: Inviting Students to Think outside Their Field
    Meghan P. Quinlan, Uppsala Univ.
  • Chaucer in Machaut’s World
    Jessica Rosenfeld, Washington Univ. in St. Louis

Other Machaut papers and performances

  • None in 2019

The International Machaut Society sponsored two sessions at the International Congress on Medieval Studies on Saturday, May 12. The Society also hosted a luncheon on Saturday, May 12.

Fun Facts about Formes Fixes (A Workshop)
Session 405, 1:30 p.m., Saturday, May 12

  • A workshop with Anna Zayaruznaya, Yale Univ.; Tamsyn Mahoney-Steel, Johns Hop- kins Univ.; Jared C. Hartt; and Jason Jacobs, Roger Williams Univ.

Machaut sans Notes
Session 456, 3:30 p.m., Saturday, May 12

  • Machaut’s Anxious Dealings with Song
    Deborah McGrady, Univ. of Virginia
  • The Non-Musical Afterlife of a Musical Lai
    Benjamin Albritton, Stanford Univ.
  • Literary Experimentation in the English Ballade: Thomas Hoccleve and Charles of Orleans
    Ricardo Matthews, Univ. of California–Irvine

Other Machaut papers and performances

  • Like Clockwork: Fortune, Time, and Mimetic Mechanism in Guillaume de Machaut’s MS C
    Kathleen Wilson Ruffo, Royal Ontario Museum/Univ. of Toronto
    Session 509, Enchanted Environs: Architecture, Automata, and the Art of Mechanical Performance I, 8:30 a.m., Sunday, May 13

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Saturday, May 13. The Society also hosted a luncheon on Saturday, May 13.

Beyond Machaut: Other Fourteenth-Century French Literary and Musical Voices
Session 354, 10:00 a.m., Saturday, May 13

  • What to Do with Philippe de Vitry’s Chapel de trois fleurs de lis
    Anna Zayaruznaya, Yale Univ.
  • Talking Statues, from Deguileville to Machaut
    Julie Singer, Washington Univ. in St. Louis
  • Machaut in Theory: A (Somewhat) New Witness to the Libellus cantus mensurabilis
    Karen M. Cook, Hartt School, Univ. of Hartford

Emerging Approaches: New Research in Machaut Studies
Session 405, 1:30 p.m., Saturday, May 13

  • Queering Machaut: Sexual Poetics in the Voir Dit
    Charlie Samuelson, King’s College London
  • The Dit dou Lyon Landscape Miniature in Ms. C: More Than Meets the Eye
    Margaret Goehring, New Mexico State Univ.–Las Cruces
  • Machaut’s Poetic Destour as Theory
    Anne-Hélène Miller, Univ. of Tennessee–Knoxville

Perspectives on Machaut’s First Book (A Roundtable)
Session 457, 3:30 p.m., Saturday, May 13

  • A roundtable discussion with Lawrence M. Earp, Univ. of Wisconsin–Madison; Tamsyn Rose-Steel, Johns Hopkins Univ.; and Jared C. Hartt, Oberlin Conservatory of Music.
  • Respondent: Domenic Leo, Duquesne Univ.

Other Machaut papers and performances

  • Pygmalion’s Phantasmic Craft in Machaut’s Fonteinne amoureuse
    Sarah Powrie, St.Thomas More College
    Session 62, Ovid’s Medieval Metamorphoses I: Shaping Pygmalion, Reflecting Narcissus, 1:30 p.m., Thursday, May 11

The International Machaut Society sponsored two sessions at the International Congress on Medieval Studies on Saturday, May 14. The Society also hosted a luncheon on Saturday, May 14.

MACHAUT IN THE SOUTH
Session 406, 1:30 p.m., Saturday, May 14

  • Machaut Gone South: Mobile Iconography
    Domenic Leo, Duquesne Univ
  • The Ferrell Manuscript (Vg) as a Document of Machaut Reception in the South
    Lawrence M. Earp, Univ. of Wisconsin-Madison
  • Machaut Cited/Sited in the South: A Performance of Musical Quotation
    Tamsyn Rose-Steel, Johns Hopkins Univ

MACHAUT ON PAGE AND SCREEN
Session 459, 3:30 p.m., Saturday, May 14

  • Rhythmic Organization and the Potential for Flexibility in the Digital Encodings of Machaut's Music
    Karen Desmond, McGill Univ
  • Remembering and Forgetting Charles of Navarre in the Pages of Machaut's Confort d'amy
    Rachel Geer, Univ. of Virginia
  • The Hidden Message in Guillaume de Machaut's Manuscript A
    Stefan Udell, Univ. of Toronto

Other Machaut papers and performances

  • Made to Measure: On the Intimate Relations of Song and Parchment in Guillaume de Machaut's Remede and Prologue
    Anne Stone, CUNY
    Session 517, Interdisciplinary Approaches to the Late Medieval Lyric, 8:30 a.m., Sunday, May 15

The International Machaut Society sponsored two sessions at the International Congress on Medieval Studies on Sunday, May 17. The Society also hosted a luncheon on Saturday, May 16.

MACHAUT: NEW DIRECTIONS FOR ANALYSIS
Session 528, 8:30 a.m., Sunday, May 17

  • Analyzing Machaut’s Music: A User-Friendly Approach for the Non-musicologist
    Lawrence Earp, University of Wisconsin at Madison
  • Teaching Motets to Undergraduate Students
    Jared C. Hartt, Oberlin Conservatory of Music
  • Sound and Socialization in the Remede de fortune
    Tamsyn Rose-Steel, Johns Hopkins University

MACHAUT AND HIS ENGLISH CONTEMPORARIES
Session 555, 10:30 a.m., Sunday, May 17

  • The Jugement Behaingne and an Anonymous “English” Counterpart
    Benjamin Albritton, Stanford University
  • Thinking about Writing: Machaut’s Prologue and Chaucer’s Bookish Persona
    Madeleine Elson, Centre for Medieval Studies, University of Toronto
  • The Poetic Persona after Machaut: Chaucer and Gower, Poetry and Patronage, and the “Wonderful Parliament” of 1386
    Burt Kimmelman, New Jersey Institute of Technology
  • Politics, Culture, and the Arts in the Early Phase of the Hundred Years War
    Kevin N. Moll, East Carolina University

Other Machaut papers and performances

  • Lais and Virelais: Music by Machaut (A Performance)
    A performance by Tamara Bentley Caudill, Tulane University; Hunter Hensley; and Rupert T. Pickens, University of Kentucky, with commentary by Judith A. Peraino
    Session 146, Thursday, 7:30 p.m., May 14
  • Fixing Machaut's Confort d'amy ca. 1380
    Rachel Geer, Valparaiso University
    Session 345, Editing the Future of the Middle Ages: Some Speculative Emendations (A Roundtable), 10:00 a.m., Saturday, May 16

The International Machaut Society sponsored two sessions and a business meeting at the 2014 meeting of the International Congress on Medieval Studies:

  • Machaut's Motets: Music, Text, Image
    Session 356, 10:00 a.m., Saturday, May 10
    • Tamsyn Rose-Steel (Johns Hopkins University), "Machaut's Motets and Lyrics and the Debate Tradition"
    • Jared C. Hartt (Oberlin University), "Leader of the Flock: Machaut's Motet 22"
    • Domenic Leo (Youngstown State University), "Machaut's Illuminated Motet: Iconography and Afterlife"

  • Music, Literature, Art: Teaching Machaut and Fourteenth-Century Contexts
    Session 396, 1:30 p.m., Saturday, May 10
    • Helen Swift (St. Hilda's College, University of Oxford), "A Narrator That Is Not One: Refreshing Our Perspective on the Poetic "I" in Late Medieval Dits"
    • Jelena Bogdanovic (Iowa State University), "Teaching Art History in Fourteenth-Century Contexts"
    • Anne-Helene Miller (East Carolina University), "Teaching Literature and Philosophy in Fourteenth-Century Contexts"
    • Kevin Moll (East Carolina University), "Teaching Music History in Fourteenth-Century Contexts"

The International Machaut Society sponsored two sessions and a business meeting at the International Congress on Medieval Studies on Saturday, May 11, 2013.

Machaut’s Music: New Directions
Session 399, 10:00 a.m., Saturday, May 11

  • Fortune Veiled: An Analysis of Machaut’s Motet 13
    Melanie Shaffer, Univ. of Colorado–Boulder
  • Towards a Fuller Understanding of Sonority in Machaut’s Four-Voice Motets
    Jared C. Hartt
  • Guillaume de Machaut and the Performance of the Page
    Kate Maxwell, Independent Scholar

Images and Imagery in Machaut
Session 453, 1:30 p.m., Saturday, May 11

  • Image to Image: Visual Syntax in Two Illuminated Machaut Manuscripts
    Domenic Leo, Youngstown State Univ.
  • A Public/Private Affair: Fin’amors in Machaut’s Voir dit and the Anonymous Storia de l’amat Frondino de Brisona
    Sarah Town, Princeton Univ.
  • Textual Itineraries in Guillaume de Machaut’s Prise d’Alixandre
    Elizabeth Voss, Univ. of Virginia

Other Machaut papers and performances

  • Hit Chansons: The Contratenor as Cover and Clue in Machaut’s Ballades and Rondeaux
    Flannery Cunningham, Princeton Univ.
    Session 322, In Honor of Marcia Marzec: Papers by Undergraduates II, 3:30 p.m., Friday, May 10
  • A book launch with open bar for A Companion to Guillaume de Machaut, edited by Deborah McGrady and Jennifer Bain, hosted by Brill Publishing Company Leiden
    5:00 p.m., Saturday, May 11
  • Emerging Technologies and Medieval Literary Networks: Finding Machaut’s Readers
    Deborah McGrady, Univ. of Virginia, and Rachel Geer, Univ. of Virginia
    Session 549, Doing Things with Manuscripts, Session 549, 8:30 a.m., Sunday, May 12

The International Machaut Society sponsored three sessions and a business meeting at the International Congress on Medieval Studies on Saturday, May 12, 2012.

Machaut and His Contemporaries
Session 370, 10:00 a.m., Saturday, May 12

  • The Sonorous Languages of Machaut and Vitry
    Jared C. Hartt
  • A History of Machaut and Vitry
    Anna Zayaruznaya, Princeton Univ.
  • Melody as a Rhetoric Device in the Lay En ce dous temps d’esté in BnF ms. fr. 146
    Sanna K. Iitti, Independent Scholar [withdrawn]

Machaut in History
Session 434, 1:30 p.m., Saturday, May 12

  • Machaut as Historian: The Strange Case of Philippe de Mezieres
    R. Barton Palmer, Clemson Univ.
  • Rousseau’s Machaut
    Nathan Martin, Harvard Univ.
  • Remedies of Fortune: Machaut and Gower
    Misty Schieberle, Univ. of Kansas

Machaut in His Material Context
Session 492, 3:30 p.m., Saturday, May 12

  • Machaut among Saints, Sinners, Lovers, and Larks in Arras 897
    Deborah McGrady, Univ. of Virginia
  • Machaut’s Marginalia and Historiated Initials in BnF ms. fr. 1584
    Domenic Leo, Youngstown State Univ.
  • Machaut and Friends: Machaut’s Lyrics in the Pennsylvania Chansonnier
    Maureen B. M. Boulton, Univ. of Notre Dame

Other Machaut papers and performances

  • Machaut’s Mediation of Chaucer’s Allusions to Ovid in The Book of the Duchess
    Elizaveta Strakhov, Univ. of Pennsylvania
    Session 29, Chaucer and Pagan Antiquity, 10:00 a.m., Thursday, May 10
  • Machaut in the Book
    Business Meeting, 5:15 p.m., Thursday, May 10

The International Machaut Society sponsored three sessions and a business meeting at the International Congress on Medieval Studies on Saturday, May 14, and Sunday, May 15, 2011.

Machaut in Fourteenth-Century Contexts
Session 420, 1:30 p.m., Saturday, May 14

  • Guillaume de Machaut and the Roman de la rose: Shared Contexts in Fourteenth-Century Illustrated Manuscripts
    Meradith T. McMunn, Rhode Island College
  • Illuminator of the Remède de fortune: His World beyond Guillaume de Machaut
    Kyunghee Pyun, Pratt Institute
  • Revising the Date: The Parisian Style and the Iconography of Fashion in BnF fr. 1584
    Domenic Leo, Youngstown State Univ

Expression in Machaut
Session 476, 3:30 p.m., Saturday, May 14

  • Meaningful Manipulation of the Medieval Tenor in Machaut’s Motets
    Justin Lavacek, Indiana Univ.–Bloomington
  • The Lady or the Harp?
    Julie Singer, Washington Univ. in St. Louis
  • Socio-political Expressions in Machaut
    Anne-Hélène Miller, East Carolina Univ.
  • A Model of Debate: Machaut in BnF fr. 20026
    Joan E. McRae, Middle Tennessee State Univ

Resources for Machaut Research and Study (A Roundtable)
Session 535, 8:30 a.m., Sunday, May 15

  • The Works of Guillaume de Machaut: A New Complete Edition
    Yolanda Plumley, Univ. of Exeter; R. Barton Palmer, Clemson Univ.; and Anne Stone, Queens College and Graduate Center, CUNY
  • Digital Environments for Machaut Studies
    Benjamin Albritton, Stanford Univ.
  • Machaut’s Material Legacy in the Digital World
    Deborah McGrady, Univ. of Virginia

Other Machaut papers and performances

  • Memory, Memorial, Mise en Page: An Examination of the Manuscript Presentations of Guillaume de Machaut’s Mass
    Kate Maxwell, Independent Scholar
    Session 541, Texts of Medieval France in Manuscript Context, 8:30 a.m., Sunday, May 15

The International Machaut Society sponsored three sessions and a business meeting at the 2010 meeting of the International Congress on Medieval Studies:

  • Resources, Sources, and Machaut's Motets (a Roundtable)
    • Jared C. Hartt (Oberlin College Conservatory of Music), "Clap, Clap!  Contextualizing Machaut in Ivrea"

    The Ivrea Codex contains one of the most important collections of fourteenth-century polyphony. The document mixes three of Guillaume de Machaut’s motets with thirty-four others from the period; the group of thirty-seven represents the largest motet collection in any extant Ars Nova manuscript. As a whole, the motets exhibit a wide range of compositional styles and subject matter. The Ivrea Codex thus provides an interesting snapshot of Ars Nova composition, an especially appropriate lens through which to compare Machaut’s compositional style with that of his contemporaries, even though most of them remain anonymous. With the Ivrea Codex as a backdrop, this paper raises several questions concerning Machaut as “influencor” and “influencee.”

    To date, connections between various pairs and groups of motets have been drawn based primarily upon isorhythmic and textual similarities. In this paper, in addition to considering isorhythm, I compare three pairs of motets by focusing on recurring melodic patterns, voice crossing, sonority usage and syntax. A close reading of each motet’s musical subtleties in turn suggests strong connections between a few Machaut and Ivrea motets.

    • Justin Lavacek (Indiana University--Bloomington), "Contrapuntal Competition in the Motets of Machaut"

    This paper presents an interpretive theory developed in response to what I conceive of as a contrapuntal power struggle in the motets of Guillaume de Machaut.  An uneasy balance seems struck between the tenor voice, which conventionally provides the compositional foundation in the genre, and its supposed contrapuntal investiture, the upper-voice pair, which occasionally usurps control.  I propose that this turbulent musical relationship may be correlated to those amorous ones of the texts which the medieval motet genre simultaneously counterpoints.  If even the most faithful subservience of the chivalric Amant to his Lady and, by analogy, the spiritual Pilgrim to the path of Christ is met with great hardship, so too may the upper-voice pair be oppressed by conformance with the demands of an external tenor.  Although the subordination of new polyphony to a revered model is customary in late medieval composition, I will show that Machaut’s is hardly complacent to domineering.

    • respondent:  Anne Walters Robertson (University of Chicago)

  • Then and Now:  Contextualizing the Voir Dit (a Roundtable)
    • Douglas Kelly (University of Wisconsin--Madison), "Apprenticeship in Machaut's Voir Dit"

    The Voir Dit treats the apprenticeship proposed by Toute Belle in the art of poetry as Machaut practices it. But that is not the literal context of the Dit. How then may we contextualize the Voir Dit or any other Dit by Machaut as an art of poetry?  Toute Belle is an advanced apprentice since she already knows how to write the standard lyric pieces of late medieval poetics. Therefore she enters that category of pupils who learn not from treatises but from exemplary works. Taking Machaut as mentor, the paper deals with the ways that apprentice poets might read, imitate, and emulate poetic masterpieces, especially when using examples, debate, and topical modes like autobiography.

    • Brooke Heidenreich Findley (Pennsylvania State University--Altoona), "Toute Belle in Context:  Gender and Writing in the Voir Dit and the Medieval French Narrative Tradition"

    Toute Belle, the heroine of Machaut’s Voir Dit, has excited critical interest and historical speculation because of the literary talents that the text attributes to her.  However, re-placing Toute Belle within Machaut’s literary context indicates that she may not be as unusual as we have supposed. An examination of the trope of the poet-heroine before Machaut indicates that poetic composition is an activity practiced by several heroines of romance and epic: Nicolette, Fresne, Josiane, Odée and Clarmondine, to name a few of the most prominent. Furthermore, the works of some of these heroines are portrayed as being at the origins of the texts in which they appear; to the extent that author figures exist in these earlier narrative texts, they are women. 

    This paper will argue that, in light of the French narrative works that preceded Machaut, it is the Voir Dit’s poet-hero rather than its poet-heroine who is truly unusual, and around whose uncertain status the text’s interrogation of gender and writing revolves.  It is well known that one of Machaut’s major innovations is his placement of the figure of the clerk at the center of his narratives: in the Voir Dit, he engages that figure in dialogue with the more traditional figure of the poet-heroine, finally exposing his clerkly narrator as resembling a woman. The resulting portrayal of a feminized redactor figure opposite a poet-heroine seems to have influenced the use of the poet-heroine trope in at least one later romance, Ysaÿe le Triste. Thus, an examination of the Voir Dit’s context allows us, not only a new perspective on this remarkable text’s examination of gender and writing, but a glimpse at its dialogue with some of the narrative texts that influenced and were influenced by it.

    • Lawrence M. Earp (University of Wisconsin--Madison), "The Context of the Reception of Machaut ca. 1950:  Boulez and Barthes"

    This paper uses reception history to generate questions for the scholarly research of medieval music. I focus on a moment around 1950, when the repertory commonly known as the “isorhythmic motet” found a new resonance. The argument turns on an article by Craig Ayrey, “Nomos/Nomos: Law, Melody and the Deconstructive in Webern's ‘Leichteste Bürden der Bäume,’ Cantata II Op. 31,” published in Music Analysis 21 (2002): 259-305. Concerned with aesthetic issues of compositional pre-planning in Webern, the article proved extraordinarily suggestive not only for the late medieval motet, but also for Machaut as author, inasmuch as not just structural issues, but also aesthetic issues actively discussed in the mid-twentieth century mesh astonishingly well with the world of Machaut. Drawing upon Ayrey, Webern, Barthes, Boulez, and Adorno, I find aspects of Machaut that demonstrate a static aesthetic, in which a plethora of signs reciprocally reinforce a single central meaning. The paper addresses motets as well as literary works, especially the Voir Dit.

  • Contextualizing Machaut
    • Joyce Coleman (University of Oklahoma), "Doctor of Love:  Guillaume de Machaut's Academic Robes in Context"

    A famous image of Guillaume de Machaut shows him reading aloud to a group of listeners (Paris, BnF fr. 22545, f. 75v; see also f. 40). Machaut is dressed up like a university magister, with appropriate chair and lectern. Although the image is familiar, its importance in the development of authorship iconography is little recognized. In the course of research on the depictions of authors in late medieval manuscripts, this image is the first I have found that accords academic accoutrements to a literary author. Earlier artists had awarded quasimagisterial status to compilers of encyclopedias or to writers of romans d'antiquité, but had not found authors of love poetry worthy of such honor. This paper will contextualize the fr. 22545 image both in relationship to its iconographical innovations and to the artist who introduced these innovations.

    • Lewis Beer (University of Warwick), "The Rose, Machaut, and Gower:  A Spectrum of Love-Critiques"

    Certain medieval love poets establish what seems to be a coherent ideology of love comportment, but with the end goal of dismantling it and replacing it with something better, usually drawing on both the didactic methods and the philosophical doctrines of Boethius’ Consolatio in the process. I side with those commentators who see Jean de Meun’s continuation of the Roman de la Rose as an essentially moral text which exposes, in scurrilous detail, the base acts to which its protagonist is driven by his desires.  In the Confessio Amantis, John Gower invests 30,000 lines of verse in the idea that erotic love fosters, and demands, virtuous conduct, only to conclude that it does no such thing, and that youth and virility are the only ‘virtues’ that can guarantee success in love. As I read them, both these authors, though approaching the subject from different angles, conclude on a rather severe and, as it were, immoderate note, leaving us overwhelmed by a sense of the carnality and/or futility of erotic love.

    In between Jean and Gower, temperamentally as well as chronologically, stands Machaut, whose approach is characterised by moderation and a more sincere investment in the positive aspects of love than we find in the Rose or the Confessio. Above all, he tells us, love is complicated; perhaps it is a worthy activity for the young; certainly it can be a spur to virtue, and in that respect may be considered a true and lasting ‘good’; but eventually, upon mature reflection, the lover must recognise that he has enslaved himself to Fortune, and remedy his situation with the help of God. By comparing Machaut’s handling of this theme with those of other love poets, and by taking the morality of these texts more seriously than scholars have so far tended to do, we can learn a great deal about the way in which Boethian and Neoplatonic concepts informed the writing of poetry in the Middle Ages.

The International Machaut Society sponsored three sessions and a business meeting at the International Congress on Medieval Studies on Saturday, May 9, 2009.

Machaut and His Influences
Session 426, 10:00 a.m., Saturday, May 9

  • Pictorial Morphing: Ovid in Illuminated Machaut Manuscripts
    Domenic Leo, Youngstown State Univ.
  • Machaut and Boethius: A Reconsideration of the Prologue and the Remede de fortune
    Eliza Zingesser, Princeton Univ.
  • Machaut and the Narcissus Exemplum in Text and Music
    Benjamin Albritton, Univ. of Washington–Seattle

Lyric and Song in Machaut
Session 481, 1:30 p.m., Saturday, May 9

  • Citation, Generic Transformation, and “Puis qu’il vous plaist”: Machaut at the Crossroads of Lyrics and Song
    Jennifer Saltzstein, Univ. of Oklahoma
  • Machaut’s Prosthetic Insertions: Between Remediation and Remedy
    Julie Singer, Washington Univ. in St. Louis
  • Reading the Loange des dames: Self-Citation and Machaut’s Lyric Process
    Yolanda Plumley, Centre for Medieval Studies, Univ. of Exeter

Recordings and Performance of Machaut’s Music
Session 538, 3:30 p.m., Saturday, May 9

  • A Historiographical Analysis of Recordings of Machaut’s Messe de nostre dame
    Kristen Yri, Wilfrid Laurier Univ.
  • Machaut’s Secular Songs
    Lawrence M. Earp, Univ. of Wisconsin–Madison
  • Recording Machaut’s Motets
    Jared C. Hartt, Oberlin College Conservatory of Music

Other Machaut papers and performances

  • None in 2009

The International Machaut Society sponsored three sessions and a business meeting at the 2008 meeting of the International Congress on Medieval Studies, all on Saturday 10 May; session and paper titles follow.

The International Machaut Society will sponsor three sessions and a business luncheon (at noon in Fetzer 1045) at the 2007 meeting of the International Congress on Medieval Studies, all on Thursday 10 May; session and paper titles follow.

The International Machaut Society sponsored three sessions and a business luncheon at the 2005 meeting of the International Congress on Medieval Studies; titles and abstracts follow.

International Medieval Congress, Kalamazoo, Michigan (2004)

The International Machaut Society sponsored two sessions and a business luncheon on Saturday 8 May 2004.

  • Session 458: Machaut and the Medieval Lyric
    • Deborah McGrady (Tulane University), " 'Que nos amours fussent chantees': The Textual Residue of Machaut's Voir dit in Fifteenth-Century Compendia"

      This paper addresses the issue of residual traces of Machaut's Voir dit in fifteenth-century compendia. Beyond providing evidence that Machaut’s magnum opus survived well into the next century before disappearing with the advent of print, this residue presents invaluable insight into the ways in which later generations interpreted the work. In essence, this residue records how Machuat’s text was decouvert, chante, flageole by later generations. To develop this argument, I will survey briefly four fifteenth-century revivals of the Voir dit that relocate the text in distinctive textual terrains. These "terrains" range from miscellaneous collections of poetry to new literary creations, where in each case the dominant text feeds off the Voir dit by way of direct citation, appropriation, or poetic recall. The three cases are as follows: 1) a miscellaneous collection of late medieval poetry produced circa 1400 (University of Pennsylvania Libraries, MS Pa), 2) a radically abridged version of the Voir dit contained in a collection of Machaut’s works produced most likely between 1425-1430 (Pierpont Morgan, MS Pm 396), and finally, 3) René d’Anjou’s 1457 eulogy to Machaut in his imaginary visit to the master’s tomb recorded in Le livre du cuer d’amours espris. These examples have been privileged because they present tantalizing evidence that Toute-Belle and Guillaume’s love affair "was sung, performed, talked about" for many decades after the composition and initial circulation of the Voir dit, but they also disclose to what extent Machaut’s text was co-opted, rewritten, and repackaged to serve very different ambitions.

    • Benjamin Albritton (University of Washington-Seattle), "Hearing Formal Repetition in Machaut's Lais"

      Analysis of Guillaume de Machaut's lais reveals the repeated use of a rather complex metric structure. This stanza form appears in lais which received musical settings as well as some which did not, and appears confined to the chronologically later works. The purpose of this paper is to examine the elements that distinguish this stanza form from the plethora of forms Machaut used, as well as to consider the possible significance of the use of this recurring musical and poetic form.

      This form, a7a7b4b7a4a7b4b7a4, is asymmetrical in both its rhyme- and metric-schemes, yet has a highly consistent musical form. It is used in fourteen of the lais (including the two canons, but excluding the lais found to contain hidden polyphony), and in six instances is used for the opening and closing stanzas. In effect, it is repeated often enough to become a recognizable fixed form within the larger context of the concrete form of the Machaut lai (twelve stanzas with different metric and rhyme schemes, save the first and last which are of the same form).

      Areas of consideration include: poetic and musical context within specific works; aspects of form as related to a shifting concept of genre in the later lais; questions of intertexuality (how should the reader/listener understand a recognizable form within a genre which prizes difference); and possible precedents for this highly organized presentation of a specific signature form. Finally, I will address the question of why Machaut chose to emphasize this particular form.

    • Elizabeth L. Keathley (University of North Carolina--Greensboro), " 'Dueil' or 'Rage': Reconsidering Christine's Dueil angoisseux"

      As her only poem (that we know of) set to music during her own century, Christine de Pizan's ballade Dueil angoisseux has garnered a certain amount of attention from musicologists. Its place in the first part of her Cent Ballades, a section entitled "Poemes de Veuvage" (Poems of Widowhood), has led Dueil angoisseux to be regarded as a powerful lament on the death of her husband, and Binchois' setting is also assumed to respond to someone's death (whose is unclear). But unlike some of her other ballades and rondeaux, Dueil angoisseux makes no reference at all to her deceased husband. Rather, the ballade protests the frustrations of her condition of widowhood, and the envoy makes a direct appeal for aid.

      There is a striking correspondence between the content of Dueil angoisseux and the autobiographical account of her misfortunes in L'Avision-Christine (Christine's Vision)--her financial difficulties, embarrassment, "labor in vain," and victimization by uncaring or unscrupulous persons--all crystallized in Vision in a ballade complaining of the treatment of widows in general: "Alas! Where shall they find solace/Poor widows who have lost all?" Liane Curtis has argued persuasively that Dueil angoisseux represents a woman's use of lament, a culturally ascribed "feminine" genre, to gain access to public speech. But it's even more than that: it's a woman's use of a feminine genre not to express her sadness, but to make demands of an unjust and uncaring world.

      Christine acknowledged that part of the appeal of her poems was their female authorship: the nobles in France and abroad found this quite novel. Binchois, who served the Burgundian court as Christine had, surely had some sense that there was more to this ballade than a widow's sadness, and this suggests that his compositional response to the poem as well as the occasion behind his setting stand to be reconsidered.

  • Session 517: Machaut and the Fourteenth-Century Mass
    • Kevin N. Moll (East Carolina University), "A Comparative View of Polyphonic Mass Cycles in the Fourteenth Century"

      This paper explores the issue of the polyphonic mass cycle as it appears to have been conceived in the fourteenth century, as opposed to its much more familiar guise in the fifteenth century, when musical unification through a common cantus firmus was a clear element of its design.

      Following the work of Leo Schrade, the study begins by defining the mass cycle of the period in terms of its paleographical and musical characteristics, tracing its roots in the plainchant cycles that began to be common in the thirteenth century. Codicological criteria for defining the mass cycle proceed from the contiguous placement of appropriate settings of the Mass Ordinary in liturgical order in manuscripts (including settings of the Ite missa est), as well as the extent of regularity in the inclusion of the various movements. Musical evidence considered includes the extent of tonal coherence among the various movements of a putative cycle, the use of preexistent plainchant melodies in polyphonic contexts, and the reuse of related motivic, tonal, and rhythmic material in disparate movements.

      The following section of the paper comprises an assessment of the Machaut Mass, comparing this famous cycle with the other generally recognized mass cycles of the period (i.e., the Tournai, Sorbonne, Toulouse, and Barcelona masses), as well as considering a number of further groupings that have been proposed by various scholars.

      The paper concludes with a general reassessment of the use of preexistent material in mass movements of the period, particularly the so-called parody techniques that have at times been emphasized as being cultivated by composers of liturgical music during the fourteenth century. These are shown to be based on procedures that are more utilitarian, and less self-consciously artistic, than has generally been acknowledged in the literature.

International Medieval Congress, Kalamazoo, Michigan (2003)

The International Machaut Society sponsored two sessions and a business luncheon at Kalamazoo; all events took place on Saturday May 10th, 2003.

  • Session 415: The Future of Machaut Studies: A Roundtable
    • Nicole Elise Lassahn (University of Chicago), presider
    • Domenic Leo, Manuscript Illumination
    • Lawrence M. Earp, Univ. of Wisconsin-Madison, The Musical Works
    • Kristen M. Figg, Kent State Univ.-Salem, The Lyric Poetry
    • R. Barton Palmer, Clemson University, The Narrative Poetry

  • Session 450: Machaut Reading/Reading Machaut
    • Barbara Altmann (Univ. of Oregon), "A Case Study in Intertextuality: Christine de Pizan Reading Machaut"

      This project has its origins in an error. Some years ago, I found in a fifteenth century manuscript (BNF f.fr. 2201) a poem attributed to Alain Chartier. I knew from its language, themes, form and rhetorical flourishes that the attribution was incorrect and believed it might be the work of Christine de Pizan, with whose style it was entirely consistent. After some sleuthing, however, I discovered that I, too, was wrong. The poem was well documented as part of the corpus by Guillaume de Machaut.

      This experience raises questions concerning the conventional nature of late-medieval courtly poetry. We can easily mistake a poem by one author for the work of another because so much of that poetry draws on the same themes, vocabulary, tropes, meter and rhyme. In particular, it confirmed the strong intertextual link between Machaut and Christine. In this paper, I wish to analyze what evidence there is for a deliberate dialogical, intertextual relationship between the works of Machaut and Christine and what is more simply the result of the popularity of particular forms and themes in late-medieval poetry.

      Reading Machaut side by side with one of his greatest literary descendents will give us a better understanding of the writerly genealogies late-medieval authors constructed as one way to legitimize their public voices. Machaut’s key role in medieval literary history becomes clearer as we examine how his successors altered the models he created. As for Christine, her work must be read not in isolation but in context; like all her contemporaries, she deliberately inscribes her writing as part of the traditions and prevailing currents of her cultural milieu. She must be read as a reader of the master, Machaut.

      My approach includes examining the ill-defined overlap of our notions of intertextuality and conventionality. In its broadest sense, the term “intertextuality” actually encompasses literary convention. In practice, however, critics tend to see an “intertextual” relationship between two pieces of literature as positive and worthy of notice, while “conventional” has a more negative valence. The study of the use of conventional forms is a rich area of enquiry for Middle-French poetry, however, in which each author finds his or her own voice through subtle variation. To appreciate this aesthetic we need to re-examine our use of current critical terms as they apply to the Middle Ages.

      My initial corpus for this new paper will be the highly structured, intricate lyric poems known as “complaintes” or “lais,” of which Machaut composed 24 and Christine three. In future stages I will extend the analysis to their allegorical work.

    • Evelyn Arnrich (Univ. of Jena), "Assignment of Text to Music in Three Motets of Guillaume de Machaut"

      In general the motets written by Guillaume de Machaut have come down to us by means of the Machaut Manuscripts MachA, MachB, MachC, MachE, MachG and Vg. Apart from these manuscripts, three motets nos. 8, 15 and 19 were also handed down in Codex Ivrea respectively in Trém. During the presentation all manuscripts, containing the above mentioned motets will compared by an open edition in order to their assignment of the text to music. Differences based on the scribal praxis will shown and analysed. The presentation aims at a more detailed perspective on scribal processes of the Machaut motets.

International Medieval Congress, Kalamazoo, Michigan (2002)

Please note that session descriptions stem from the original call for papers

  • Machaut and his Intellectual Milieu (organized by Nicole Lassahn, nelassah@midway.uchicago.edu)

    This session is meant as a forum for investigation of Machaut's interaction - broadly conceived -- with his context(s) and contemporaries. For example, we would welcome comparative work on Machaut and other authors and musicians from his time, particularly Chaucer, Vitry, and Froissart. Papers might also explore questions of literary and musical sources and influences, including either his influence on others, or his adaptation of his own sources. Papers might also investigate political questions and court contexts or issues of patronage. "Intellectual milieu" might also provide a means for talking about Machaut's audience his readership, audiences and venues for performance of his musical compositions, and issues of manuscript transmission.

  • Teaching Machaut (organized by Margaret Hasselman, mhasselm@vt.edu, and Janice C. Zinser, janice.c.zinser@oberlin.edu)

    For this session, we welcome papers addressing how you have successfully taught Machaut, especially the Remede de Fortune. We are interested in papers focussing on musical or literary aspects or both, emphasizing new approaches. We are particularly interested in approaches that 1) are useful in an interdisciplinary setting, or 2) use various multimedia materials, such as the NEH-Mt. Holyoke Medieval Lyric materials. Papers should be between 15 and 20 minutes in length.

  • Machaut and Dissonance (organized by Kevin N. Moll, mollk@mail.ecu.edu)

    This session proposes to explore the concept of "dissonance" in the oeuvre of Machaut and his close contemporaries. In Western music generally, the function of dissonance has been to create harmonic tension or motion, and its resolution has been a constant element of style, typically constituting a cornerstone of harmonic theory and practice in various periods. One of the most intriguing aspects of the Ars nova repertoire, however, is precisely that its practical conception of dissonance treatment has proved to be notoriously intransigent to account for, and this is especially true in the music of Machaut himself. By extension, dissonance can also refer to the lack of harmony in non-musical spheres (e.g., poetic structure or content), again presumably requiring (though perhaps not always successfully achieving) resolution. We therefore encourage considerations of all aspects of Machaut's treatment of dissonance, musical and otherwise.

    • Lawrence Earp, "Declamatory Dissonance in Machaut."

      This work is based on research I carried out in reviewing Graeme M. Boone, Patterns in Play: A Model for Text Setting in the Early French Songs of Guillaume Dufay (1999). Based on a study of the thirty-nine Dufay chansons in GB-Ob 213, Boone establishes that Dufay observed an unwritten convention or "model," a set of consistent principles that guided the composer in setting text in his early chansons. In my paper, I will show that the model also lies behind Machaut's texting practices. In effect, departures from the model can be considered as a kind of dissonance, a "declamatory dissonance." Performers will find that awareness of the convention resolves certain ambiguities of text underlay, and projection of the model in performance guides possibilities for phrasing. Finally, we as listeners should train ourselves to hear declamatory consonance and dissonance, since composers self-consciously play off it as a parameter of musical expression.

International Medieval Congress, Kalamazoo, Michigan (2001)

The International Machaut Society sponsored three sessions and a business luncheon at Kalamazoo, May 3-6 2001. Those sessions were all on THURSDAY, MAY 3rd:

  • Thursday, 3 May, 2001, 10:00-11:30 A.M. (Session 012): Valley III 313
    Guillaume de Machaut as Historian
    Presider: Anne Robertson, Univ. of Chicago
    • "Je le vi, pour ce le tesmong": Machaut in the Context of Silesian/French Contacts
      Charles E. Brewer, Florida State Univ.
    • Guillaume de Machaut's Life of Peter I of Cyprus: Fact and Distortion
      R. Barton Palmer
  • Thursday, 3 May, 12 Noon : Valley III 313
    International Machaut Society Business Meeting with Buffet Luncheon
  • Thursday, 3 May, 1:30 P.M. (Session 073): Valley III 313
    Lyric and Narrative in Machaut's Poetry
    Presider: R. Barton Palmer
    • Machaut's Remede de Fortune: Genre and Maturity
      Cynthia Cyrus, Vanderbilt University

      Guillaume de Machaut's Remede de Fortune is a tale of the maturation of a lover and of his emotional initiation into courtly love. Through encounters with his lady and with the allegorical figure of Hope, the lover grows from a naïve, innocent, despairing youth to an optimistic, hopeful, modestly self-promoting courtier. Much of the emotional action, as it were, takes place in a fictionalized Garden of Hesdin and is borne out through the style of lyric insertions chosen to make manifest each stage of the lover's transformation. The choice of lyric genre reflects the relative maturity of the poet/lover.

      In his youth, the lover is garrulous, amused at rhyme patterns, interested in exploiting emotional and verbal extremes, as seen through the lai and the complaint. As he experiences the garden, his thoughts turn to inner ideals balance and symmetry, fin'amours, contemplative love, love that is sufficient unto itself, represented by the chant royal and the baladelle. As he returns from the garden, he finds applying these ideals to be harder in real life than in the realm of imagination or cogitation; he has some luck with the idea of joyful love and fin'amours, but less with the notion of sufficiency and emotional constancy. The ballade and the prayer reflect this stage of his growth. Finally, with the help of his lady, he is brought through to maturity, and his songs--a virelai and a rondelet--reflect the courtly patterns to which the mature poet/lover will return time and again. The themes of these last songs are artful, conventional, and depersonalized; they partake of courtly love, but they do not threaten the established social order. In short, the eight lyrics of the Remede provide an encyclopedic digest of forms and moods, but they also provide an emotional narrative to accompany the larger poetic narrative of Machaut's dit.

  • Thursday, 3 May, 2001, 3:30 P.M. (Session 133): Valley III 313
    Machaut's Music: Secular and Religious
    Presider: R. Barton Palmer
    • Political Allusion in Machaut's Motets 21 and 22
      Anne Robertson, Univ. of Chicago
    • Respondent: Alice V. Clark, Loyola Univ. -- New Orleans

International Medieval Congress, Kalamazoo, Michigan (2000)

The International Machaut Society sponsored three sessions and a business luncheon at Kalamazoo; all events took place on Friday, May 5, 2000.

  • 10 am, Valley III, Room 313: Session 170
    Machaut's Lais: The Voir Dit's "Longuement me fui tenus"
    • Margaret Hasselman (University of Vermont), presider
    • A panel discussion with Maureen Boulton (University of Notre Dame), Virginia Newes (Independent Scholar), Janice C. Zinser (Oberlin College), and Elizabeth Aubrey (University of Iowa)
      • Maureen Boulton: Guillaume de Machaut's 'Lai d'esperance': The Thematic Structure

        The lai falls into three sections of decreasing size the first part, extending from stanza 1 through 5, consists of a series of variations on the double wound of the lady's glance, which inflicts both tormenting Desire and sustaining Hope. In the second part including stanzas 6 through 9, the poet describes the lady and her effect upon him. In stanzas 10-12 which make up the third part, he returns to the competing forces of Desire and Hope, until in the end he relies exclusively on the protection of Hope. In addition to this rather chronological reading, it is possible to see the structure of the lai as concentric In the opening stanza the poet declares that he has surrendered to love, while in the last he announces that he is a true lover. In both the second and eleventh stanzas he describes the pain of the arrow of Desire, which would have killed him, had he not benefited from the consoling presence of Hope.

        In the third, he declares that he will love his lady to the end of his days, while in the tenth declares such a pursuit a 'jolie vie'. The next two pairs of stanzas are in opposition. In the fourth he describes a state of bewilderment as a result of love, while in the ninth he has found his direction- l… [there] - in his lady. Stanzas 5 and 8 oppose vision and speech, but in both he is subject to the will of his lady. In the central pair, he considers that love of such a lady is a 'most noble destiny'; sight of her causes great happiness and delight.

      • Virginia Newes: Symmetry and Dissymmetry in the Music of the Lay de Bonne Esperance

        The Lay de bonne esperance is one of the pivotal lyric interludes in the Livre du Voir-Dit, celebrating the narrator's success in love while acknowledging his debt to Hope. Although designed to enhance its metrical structure, the music of the lai is more than a mere imprint of the text. Even within the framework of a monophonic and largely syllabic setting, the composer's artful play with purely musical features such as ambitus, pitch center, rhythmic articulation, and melodic motive display a level of craft and subtlety worthy of his intricately formed poetry.

        As in most of Machaut's lais, the twelfth and final stanza follows the metrical structure of the first and is sung to the same melody set a fifth higher. This shift in ambitus and pitch center takes place in stages,, evidence of a large-scale plan encompassing all twelve stanzas. At the same time, the melodies of individual stanzas articulate the poetic structure not only by observing line endings and versicle divisions but also through subtle transformations of rhythmic and melodic motives that suggest parallels between sections while avoiding literal repetition.


  • 12 noon, Valley II, Room 200: Business Meeting

  • 1:30 pm, Valley III, Room 313: Session 227
    Machaut's Motets
    • Kevin N. Moll (East Carolina University), presider
    • "Machaut's Motet 5 in Light of New Musical and Literary Sources," Yossi Maurey (University of Chicago)
      The fourteenth century saw a remarkable outburst of mystical religion. Allegorical and mystical treatises found in Reims Cathedral in the time of Machaut form the background of a new investigation into Machaut's motet 5. Considering the Tenor to be the foundational element in the inception and reception of the Ars-Nova Motet, the paper examines both textual and musical ramifications this conception entails. The tenor's text, 'fiat voluntas tua,' is clearly taken from the most common daily prayer in Christianity, the pater noster. Subsequently, I entertain several allegorical interpretations suggested by contemporary mystical writers, which point to a fascinating, if common, interplay between religious and secular themes. A whole set of issues related to the teachings on vices and virtues is then uncovered.

      The tenor's musical source, however, has always remained a mystery. Contributing to the difficulties in identification are the unusual (for Machaut's motets) four-voice texture, and some complex contrapuntal procedures. In addition, given the fact that only eleven fourteenth-century motets have exact matches between their tenor melodies and their corresponding chant segments in extant MSS, it was perhaps not surprising that a convincing musical source has never been suggested. In this paper, I propose that the tenor's melody in Machaut's motet 5 is taken from a popular saint's office which includes a chant containing the text 'fiat voluntas tua.' The melody is found in a MS from a town about 10 miles from Reims. Significantly, two other exact matches of Machaut's tenors come from that city.



    • "Polytextuality in Machaut's Motet 10: Fiery Love, Obedience, and Death as Spiritual Voices," Catherine Saucier (University of Chicago)
      Polytextuality, a hallmark of the medieval motet, continues to perplex and to challenge listeners seeking to penetrate this repertory's often puzzling facade. Many motets thrive on a seemingly eclectic juxtaposition of sacred and secular texts, quoting fragments of scripture and liturgical chant in their tenor voices while developing themes reminiscent of courtly love lyric in their upper voices.

      Machaut's Motet 10, Hareu! Hareu! le feu / Helas! ou sera pris confors / Obediens usque ad mortem, simultaneously presents images of the fire of passionate love alongside willing obedience to the point of death. The two upper voices expose the consequences of an ardent and passionate love which sets the lover's heart on fire. The tenor voice meanwhile evokes Christ's willingness to sacrifice his body on the Cross by quoting the words `obediens usque ad mortem' from the Gradual for the evening mass of Holy Thursday.

      Situating motet texts within their courtly, intellectual, and religious contexts exposes otherwise hidden connections between various images and ideas. Extending our analysis of the motet genre beyond its surface structure into the realm of ideas and patterns of thought from the period during which the genre flourished broadens our horizons of understanding, and allows for a wider range of interpretive possibilities.

      The four central images which constitute the thematic content of Motet 10, fire, love, obedience, and death, can all be situated within the world of medieval courtly love. The metaphors of fire and burning to symbolize desire, in particular, occur frequently in secular love poetry. Keeping these courtly uses of the fire metaphor in mind, we should not, however, allow a secular interpretation to rule out other interpretive possibilities. Images of fire appear in the Bible as well as in sermons, spiritual treatises, and mystic writings throughout the patristic and medieval periods.

      This paper proposes a consideration of the textual content of Motet 10 from a largely spiritual perspective. Following a discussion of the tenor source and its placement within various services in the Christian liturgical year, I proceed to examine interpretations of the themes of fire, love, and death, which Machaut develops in his upper voices, within a selection of spiritual treatises as I look for possible connections between theses themes and the liturgical tone of the tenor voice. I survey passages fom the Song of Songs and the Glossa Ordinaria, as well as mystic writings by Richard of Saint-Victor, Richard Rolle, and Henry Suso, all works which circulated widely within clerical circles of Machaut's period.

      By thoroughly grounding ourselves in the liturgical background of the tenor voice as well as exploring the vast collection of medieval religious writings which elaborate on the themes of the upper voices, we become aware of the wealth of spiritual ideas which connect the textual themes of Motet 10. Familiarity with this pool of associations not only enlarges our resources for interpreting the textual content of Machaut's motet, but allows us to more fully comprehend the polytextual structure of the motet genre.



    • "The Languishing Lover and the Confessed Liar: The Sacred and Secular Voices of Machaut's Motet 14," Nikkola E. Carmichael (University of Chicago)


  • 330 pm, Valley III, Room 313: Session 284
    Machaut's Voir Dit Fact or Fiction?
    • Anne W. Robertson (University of Chicago), presider

    • "Exempla and Exemplary Readers in Guillaume de Machaut's Voir Dit," Nicole Lassahn (University of Chicago)
      The question organizing this session - Voir Dit, fact or fiction, is generally posed of the love problem which provides the piece with its plot movement, and is thus generally answered in one of two ways. One, Fact: Toute-belle is a real person with whom the author had a relationship; or two, Fiction: Toute-belle is not a real person; she and the love relationship detailed in the piece are both entirely fictional. This essay sketches out a way in which the answer to this question can be explored in terms that have nothing at all to do with Guillaume de Machaut's love life or lack thereof. I think we can approach the Voir Dit as a true poem, and true historically, without even engaging the search for Toute-Belle. Moreover, I think that focusing on the love problem as the only, or the primary, means for the dit's interaction with its context closes off important avenues for understanding what goes on in the piece in all its complexity.

      Using the Confort d'Ami as a comparison, this essay explores the ways in which narrative strategies themselves, in particular exemplum and models of ideal kingship, construct the political and historical content of the Voir Dit. I argue that there is a shift from the earlier piece both in that political and historical content, and also in the use of these narrative strategies. This shift is more than a change in the content of the political and military matter represented. It is also a change in attitude toward narrative itself, and what constitutes an appropriate or true narrative. Moreover, it is not simply that political models and narrative strategies are analogs which shift in similar fashion; the two are interconnected here in a necessary way, and when they change, they change together. It is, in fact, the change in the way that exemplum works that shows why the change in political model is necessary. Thus, reading the shift in Machaut's political models turns out to be not only a way in which the Voir Dit is voir, historically, but also a powerful tool for understanding Machaut's work as narrative, and as literature.

    • "Fictional Truth in the Voir Dit: Directions for Further Research and Critical Analysis," R. Barton Palmer (Clemson University)


The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Thursday, May 6. The Society also hosted a luncheon on Friday, May 7.

Topics in Machaut's Music
Session 043, 10:00 a.m., Thursday, May 6

  • Approaching A and E: Cadential Progressions and Tonal Structure
    Jennifer Bain, SUNY—Stony Brook
  • Texture and Counterpoint in Four-Voice Liturgical Works of Machaut and His Contemporaries
    Kevin Moll, East Carolina Univ.
  • Tradition and Innovation in Machaut's Musical Notation
    Lawrence Earp, Univ. of Wisconsin—Madison

Guillaume de Machaut and Christine de Pizan: Debating the Love Debate: A Mock Literary Trial
Session 089, Thursday, May 6

  • Participants: Barbara Altmann, Univ. of Oregon, and R. Barton Palmer, Clemson Univ.

The Voice of Machaut's Lais
Session 135, 3:30 p.m., Thursday May 6

  • The Composer's Voice
    Virginia Newes, Eastman School of Music
  • The Singer's Voice
    Elizabeth Aubry, Univ. of Iowa

Other Machaut papers and performances

  • Les Allégories de la vie intérieure et 1'evolution du lyrisme chez Guillaume de Machaut et Charles d'Orléans
    Françoise Ferrand, Univ. de Paris X—Nanterre
    Session 489, Late Medieval French Literature, 8:30 a.m., Sunday, May 9
  • Fictional Truth as a Literary Problem in Guillaume de Machaut's Voir Dit
    Nicole Lassahn, Univ. of Chicago
    Session 489, Late Medieval French Literature, 8:30 a.m., Sunday, May 9

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Thursday, May 7. The Society also hosted a luncheon on Thursday, May 7.

Topics in Machaut's Music
Session 043, 10:00 a.m., Thursday, May 7

  • Making and Breaking Patterns in Machaut's Motets
    Alice V. Clark, Pennsylvania State Univ.
  • Machaut's Early Motets and Fourteenth-Century Mystical Theology
    Anne W. Robertson
  • Defining Musical Space in Machaut's Four-Voice Chansons
    Virginia Newes, Eastman School of Music

Machaut and Froissart: A Roundtable Discussion
Session 096, 1:30 p.m., Thursday May 7

  • A roundtable discussion with Barton Palmer; Nicole Lassahn, Univ. of Chicago; Kristen Mossier Figg, Kent State Univ.; Paul V Rockwell, Amherst College; and Deborah McGrady, Western Michigan Univ.

Teaching Machaut
Session 149, 3:30 p.m., Thursday, May 7

  • Perceptions of the Music of Machaut
    Mary Wolinski, Western Kentucky Univ
  • Signing and Speaking: Studying Machaut's Voices in the Remede de Fortune
    Janice C. Zinser, Oberlin College
  • Teaching Machaut's Remede de Fortune to Undergraduates in a General Humanities Course
    Margaret Hasselman, Virginia Polytechnic Institute

Other Machaut papers and performances

  • None in 1998

The International Machaut Society sponsored two sessions at the International Congress on Medieval Studies on Friday, May 9. The Society also hosted a luncheon on Friday, May 9.

Editing Machaut for the Twenty-First Century
Session 162, 10:00 a.m., Friday, May 9

  • Why a New Machaut Edition?
    Alison Bullock, University of Southampton
  • Some Criteria for an Ideal Machaut Edition
    Daniel Leech-Wilkinson, University of Southampton
  • Pepys 1594 and the "Early Text Tradition" of Machuat's Remede
    William W. Kibler, University of Texas-Austin

Guillaume de Machaut's Vision
Session 205, 1:30 p.m., Friday, May 9

  • The Reader's Window on Folio 103: The Opening Image of Guillaume de Machaut's Story of the Lion
    Domenic J. Leo, Institute of Fine Arts-New York University
  • The "I" that Sees and the Eye that Writes: The Vision Motif in Guillaume de Machaut
    Kateri Carver-Akers

Other Machaut papers and performances

  • None in 1997

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Friday, May 10. The Society also hosted a luncheon on Friday, May 10.

Poetic Self-Consciousness in Machaut: A Round Table
Session 144, 10:00 a.m., Friday, May 10

  • A Roundtable discussion with Anna M. Branscome, Indiana University; R. Barton Palmer and Barbara Altmann, University of Oregon.

Machaut and the Art of the Motet
Session 183, 1:30 p.m., Friday, May 10

  • Love and Order: Relationship Between Text and Music in Machaut's Motet 17
    Jacques Boogaart, Utrecht University
  • "Super omnes speciosa": A Pair of Tenor-Related Motets
    Alice V. Clark, Princeton University

Structure in Machaut's Musical Compositions
Session 223, 3:30 p.m., Friday, May 10

  • Long Range Harmonic Processes in Machaut's Secular Compositions
    Jehoash Hirshberg, Hebrew University
  • Why This Voice Has Sharps but That One Doesn't: Pieces Built at the Fifth
    Jean Harden
  • On the Interaction of Contrapunctus and Mensuration in Guillaume de Machaut's Two-Voice Secular Songs
    Sarah Fuller, SUNY-Stony Brook

Other Machaut papers and performances

  • "Looking on" and "Listening in": Bringing into Focus the Textual Framework of Truth in Guillaume de Machaut's Dits
    Kateri Carver-Akers, University of North Carolina-Chapel Hill
    Session 004, Medieval French Literature I, 10:00 a.m., Thursday, May 9

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Saturday, May 6. The Society also hosted a luncheon on Saturday, May 6.

Machaut and Chaucer: In Honor of James I. WImsatt
Session 287, 10:00 a.m., Saturday, May 6

  • Poetry and Penance: The Legend of Good Women and Machaut
    R. Barton Palmer, Georgia State University
  • Machaut and The Book oj the Duchess: Reconsiderations
    Cynthia Valk, Ball State University

Literary and Musical Approaches to the Lais
Session 340, 1:30 p.m., Saturday, May 6

  • The Lai in Remede de Fortune
    Presentors are: Lawrence Earp, University of Wisconsin-Madison; William Calin; Elizabeth Aubrey, University of Iowa.

Guillaume de Machaut in History
Session 392, 3:30 p.m., Saturday, May 6

  • History and Allegory in Guillaume de Machaut
    Steven B. Davis, Drake University
  • Machaut and the Judgments of History: Le Jugement dou roy de Navarre and Le Confort d'ami
    David G. Lanoue, Xavier University of Louisiana

Other Machaut papers and performances

  • Gower, Machaut, and the Genre of the Confessio Amantis
    Peter Nicholson, University of Hawaii-Manoa
    Session 304, Gowerian Influences, 1:30 p.m., Saturday, May 6

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Friday, May 6, and Saturday, May 7. The Society also hosted a luncheon on Friday, May 6.

Vox Feminae: Guillaume de Machaut's Female Literary Voices
Session 153, 10:00 a.m., Friday, May 6

  • Toute Belle, Agnes de Navarre, Peronne d' Armentieres: Designing Women in Machaut's Voir Dit
    Steven B. Davis, Carleton, College
  • Your Blues Aint' Like Mine: Suffering and Gender in "Le Jugement dou Roy de Behaigne" and "Le Jugement dou Roy de Navarre"
    Michael Pettinger, University of Washington
  • Avoiding a Decision: Machaut's Playful Misogyny in the Judgment Series
    R. Barton Palmer, Georgia State University

Guillaume de Machaut: Issues in Performance Practice
Session 194, 1:30 p.m., Friday, May 6

  • Audience-Friendly Structure in the Lais of Machaut
    Alice Carli, Eastman School of Music
  • In Search of a Covering Law for the Practice of Ficta
    Jehoash Hirshberg, Hebrew University
  • Guillaume de Machaut: Issues in Performance Practice
    Project Ars Nova

Guillaume de Machaut's Motets
Session 338, 1:30 p.m., Saturday, May 7

  • Courtly and Theological Discourse in Machaut's Motets 7 and 9
    Sylvia Huot, Northern Illinois University
  • Polyphonic Echoes: Narcissus, the Rose, and Machaut's Motet No.7
    Kevin Brownlee, University of Pennsylvania
  • Melodic Alteration in Machaut Tenors
    Alice V. Clark, Princeton University

Other Machaut papers and performances

  • LE NOBLE RHETORIQUE: Guillaume de Machaut and his Successors
    Performed by ENSEMBLE PROJECT ARS NOVA (Michael Collver; John Fleagle; Shira Kammen; Laurie Monahan and Crawford Young)
    Concert, 8:00 p.m., Friday, May 6

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Saturday, May 8. The Society also hosted a luncheon on Saturday, May 8.

Guillaume de Machaut's Mass
Session 253, 10:00 a.m., Saturday, May 8

  • Further Thoughts on the Unity of the Machaut Mass
    Anne Walters Robertson, University of Chicago
  • Number and Precompositional Planning in Machaut's Mass
    Elizabeth J. Randell, University of North Carolina-Chapel Hill
  • Machaut's Mass in Geschichte und Gegenwart
    Lawrence M. Earp, University of Wisconsin-Madison

Machaut's Religious Poetry
Session 308, 1:30 p.m., Saturday, May 8

  • Religious Themes in Machaut's Texts
    Sylvia Huot, Northern Illinois University
  • Church and State in the Roman de Fauvel of B.N. fran~ais 146
    Nancy Regalado, New York University

Fourteenth·Century Performance Practice and Machaut's Mass
Session 334, 3:30 p.m., Saturday, May 8

  • A panel discussion about performance questions, by members of the International Machaut Society and members of Sequentia.

Other Machaut papers and performances

  • Function and Impact of the Gesamtrhythmus in Machaut's Sacred Isorhythmic Works
    Marianne Richert Pfau, University of San Diego
    Session 211, Musicology IV: From the Cathedral to the Salon, 3:30 p.m., Friday, May 7

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Thursday, May 7. The Society also hosted a luncheon on Thursday, May 7.

Machaut: Case Studies in Musical Transmission
Session 001, 10:00 a.m., Thursday, May 7

  • Patterns of Transmission: Machaut and Italian "Afterthoughts"
    Cynthia J. Cyrus, University of Rochester
  • "Apres vos fait": Machaut's Special Presence in the Chantilly Codex
    Elizabeth J. Randell, University of North Carolina-Chapel Hill

Machaut: Case Studies in Literary Transmission
Session 041, 1:30 p.m., Thursday, May 7

  • Rhyme or Reason: Machaut, Chaucer, Pope
    James I. Wimsatt, University of Texas
  • A Lion for Love: Machaut and Metaphor
    Eric Steinle, Wittenberg University
  • Machaut: Case Studies in Literary Transmission
    Lori Walters, Florida State University

Machaut: Patrons and Patronage
Session 080, 3:30 p.m., Thurday, May 7

  • Poets and Patrons in Machaut and Chaucer
    Diane Marks, Brooklyn College-CUNY
  • Machaut and Charles of Navarre: Occasion and Response in the Confort d'ami
    R. Barton Palmer, Georgia State University

Other Machaut papers and performances

  • Guillaume de Machaut: The Last Trouvere?
    Donna Mayer-Martin, Southern Methodist University
    Session 161, Musicology IV: Texts, Tenors, and Traditions, 1:30 p.m., Friday, May 8

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Saturday, May 11. The Society also hosted a luncheon on Saturday, May 11.

Lyric Insertions in the Works of Guillaume de Machaut
Session 252, 10:00 a.m., Saturday, May 11

  • Guillaume de Machaut's Voir Dit and the Voice of the Lady
    Maureen Boulton, University of Notre Dame
  • Guillaume de Machaut: The Introspective Balladeer
    Louise Anne Hunley, Catholic University of America

Machaut's Legacy: Literature
Session 289, 1:30 p.m., Saturday, May 11

  • Taking Machaut a Step Further: Jean Froissart's Espinette Amoreuse
    Laurence de Looze, Harvard University
  • Love Dethroned: Christine de Pizan's Answer to Machaut's Prologue
    Barbara Altmann, University of Oregon
  • Revising Judgments: Chaucer on Machaut
    Diane R. Marks, Brooklyn College

Machaut's Legacy: Music
Session 327, 3:30 p.m., Saturday, May 11

  • Reviving Machaut's Musical Legacy
    Sarah Fuller, SUNY-Stony Brook
  • A Fair Historical Perspective for Machaut
    Gordon K. Greene, Wilfrid Laurier University
  • Respondent: Rebecca A. Baltzer

Other Machaut papers and performances

  • None in 1991

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Saturday, May 12. The Society also hosted a luncheon on Saturday, May 12.

Machaut and His Literary Tradition
Session 234, 10:00 a.m., Saturday, May 12

  • The Re-Invention of History in Guillaume de Machaut's Jugement dou Roy de Navarre
    Jody Enders, University of Illinois-Chicago
  • Machaut and the Advice to Princes Tradition
    Margaret J. Ehrhart, Fairleigh Dickinson University
  • From Text to Text and from Tale to Tale: Jean Froissart's Prison amoureuse
    Laurence de Looze, Harvard University

Machaut and His Predecessors: Poetry and Music
Session 270, 1:30 p.m., Saturday, May 12

  • Listening to Trouvère Song: Gace Brulé and Thibaut de Champagne
    William Calin, University of Florida and Elizabeth Aubrey
  • Listening to Machaut Song: The Monophonic Virelai
    Phyllis Brown, Santa Clara University and William Mahrt, Stanford University

The Music of Guillaume de Machaut
Session 306, 3:30 p.m., Saturday, May 12

  • Fourteenth-Century Court Dances and Guillaume de Machaut
    Lawrence Earp, University of Wisconsin-Madison
  • The Late Motets of Guillaume de Machaut
    Anne W. Robertson, University of Chicago

Other Machaut papers and performances

  • The Role of Musical Form and Genre in Guillaume de Machaut's Remede de Fortune
    Matthew Steel, Western Michigan University
    Session 109, Music and Music Drama, 10:00 a.m., Friday, May 11
  • Mathematical Models in Machaut
    Pozzi Escot
    Session 145, Musicology I: The Cosmos and Mathematics in the Music of the Fourteenth Century, 1:30 p.m., Friday, May 11
  • Both Sides Now: Text and Music in Guillaume de Machaut
    Ruth E. Hodkinson, Wellesley, Massachusetts
    Session 217, Musicology ill: Music and Text: Analytical Approaches, 10:00 a.m., Saturday, May 12

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Friday, Saturday, and Sunday, May 5-7.

Guillaume de Machaut's Progeny: The Ars subtilior and Questions of Performance Practice
Session 197, 3:30 p.m., Friday, May 5

  • Performance: The Folger Consort, Robert Eisenstein, Director.
  • Panel Discussion with Elizabeth Aubrey, University of Iowa; Lawrence Earp, University of Wisconsin; Robert Eisenstein, and Peter Lefferts, University of Chicago.

Machaut and the Rose
Session 301, 3:30 p.m., Saturday May 6

  • What Machaut Didn't Borrow from the Roman de la Rose
    Margaret J. Ehrhart, Fairleigh Dickinson University
  • Poet of Love and Nature: Genius, Apollo, and Guillaume de Machaut
    Sylvia Huot, Northern Illinois University

Guillaume de Machaut, Musician and Poet
Session 330, 10:00 a.m., Sunday, May 7

  • Illumination and Interpretation in Guillaume de Machaut
    Kumiko Maekawa, Dokkyo University
  • Now I Lay Me Down to Sleep: Orpheus as Muse
    Eric Steinle, Washington State University

Other Machaut papers and performances

  • Between Machaut and Deschamps: Questions of Influence
    Robert Magnan, Madison, Wisconsin
    Session 041, Eustache Deschamps: His Literature and His Influence, 1:30 p.m., Thursday, May 4
  • A New Perspective on the Interaction of Poetry and Music in Machaut's Rondeaux
    Ruth E. Hodkinson, Wellesley, Massachusetts
    Session 067, Musicology III: Poetry and Music, 3:30 p.m., Thursday, May 4
  • Observing the Rhetoric of Music: Sounds and Gestures in Machaut
    Thomas L. Riis, University of Georgia
    Session 232, Teaching the Medieval Lyric: Time and Space, 10:00 a.m., Saturday, May 6

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Saturday May 7.

Machaut's Jugement Poems
Session 215, 10:00 a.m., Saturday, May 7

  • Judging and Judgment in the Jugements
    Laurence de Looze, Boston University
  • Reopening the Case: Machaut's Jugement Poems as a Source in Christine de Pizan
    Barbara K. Altmann, University of Toronto

The Lais of Machaut
Session 250, 1:30 p.m., Saturday, May 7

  • Machaut's Lai de Plour: A Performance and Commentary
    Elizabeth Aubrey, University of Iowa
  • Text, Pretext, Metatext: The Judgment of the King of Navarre and Lyric Penance
    R. Barton Palmer, Georgia State University

Machaut's Polyphonic Music: Performance-Demonstration
Session 287, 3:30 p.m., Saturday, May 7

  • Performance-Demonstration: The Newberry Consort
    Mary Springfels, Director

Additional Machaut-related sessions

Teaching Machaut's Remède de Fortune [Sponsored by The Medieval Lyric Project]
Session 085, 3:30 p.m., Thursday, May 5

  • The Remède de Fortune as the Intersection of Old and New
    Margaret Switten, Mount Holyoke College
  • Questions and Perspectives in Teaching the Music of the Remède de Fortune
    Sharon Girard, San Francisco State University
  • Music, Delivery and the Rhetoric of Performance in the Remède de Fortune
    Jody Enders, University of Illinois-Chicago
  • Following will be a round-table discussion on approaches to teaching the Remède de Fortune.

Other Machaut papers and performances

  • Structural Functions of Isorhythm in Machaut's Motets
    Paul Johnson, University of Notre Dame
    Session 200, Music and Musicology IV: The Gregorian Question; Modus and Metrum in Medieval Music, 10:00 a.m., Saturday, May 7

The International Machaut Society sponsored three sessions at the International Congress on Medieval Studies on Friday, May 7. The Society also hosted a reception and business meeting on Friday, May 7

Guillaume de Machaut's Voir Dit: Editorial and Literary Considerations
Session 116, 10:00 a.m., Friday, May 8

  • Editing the Music of the Voir Dit
    B. Jean Harden, Cornell University
    • Respondent: Norman E. Smith, University of Pennsylvania
  • The Voir Dit and Literary Theory
    Robert S. Sturges, Wesleyan University

Guillaume de Machaut's Voir Dit: Critical and Literary Questions
Session 152, 1:30 p.m., Friday, May 8

  • Guillaume de Machaut: Le Voir Dit et le puissance de la fiction
    Alexandre Leupin, Louisiana State University
  • The Self-Compiling Artifact
    Eric Steinle, Washington State University
  • Commentator: Laurence de Looze, University of Toronto

Guillaume de Machaut's Voir Dit: Questions of Performance Practice
Session 189, 3:30 p.m., Friday, May 8

  • Panel Discussion: Beverly Evans, SUNY- Geneseo; Thomas P. Campbell, Wabash College; Lawrence Earp, University of Wisconsin-Madison

Other Machaut papers and performances

  • None in 1987

The International Machaut Society sponsored four sessions at the International Congress on Medieval Studies on Friday, May 9, and Saturday, May 10. The Society also hosted a business meeting on Thursday, May 8 and a reception on Friday, May 9

Performance Practice in the Lyrics of Guillaume de Machaut
Session 137, 3:30 p.m., Friday, May 9

  • A Performance of Selected Lyrics of Guillaume de Machaut
    The Early Music Institute, Indiana University, Thomas Binkley, Director
  • Panel Discussion
    Lawrence Earp, University of Wisconsin-Madison; Harold Brown, University of Chicago; Thomas Binkley, Indiana University

The Legacy of Guillaume de Machaut
Session 172, 10:00 a.m., Saturday, May 10

  • Machaut and Froissart
    Peter F. Dembowski, University of Chicago
  • Machaut and Chaucer I: Chaucer's Manuscripts of Machaut
    James Wimsatt, University of Texas-Austin
  • Machaut and Chaucer II: Literary Considerations
    William Calin, University of Oregon

Symposium on Guillaume de Machaut's Remede de Fortune
Session 206, 1:30 p.m., Saturday, May 10

  • The Perspective of Lyric Formalism
    Alexis Valk, Houston, TX
  • The Perspective of Codicology
    Lawrence M. Earp, University of Wisconsin-Madison
  • The Perspective of Musical Style
    Rebecca A. Baltzer, University of Texas-Austin
  • The Perspective of Poetic Imagination
    William Calin, University of Oregon
  • Musical performance by The Kalamazoo Pro Musica Antiqua, Bruce Carvell, Tenor; Matthew Steel, Director

Critical Problems in the Literary Works of Machaut
Session 241, 3:30 p.m., Saturday, May 10

  • The Metafictional Machaut: Self-Reflexivity and Poetic Self-Consciousness in the Judgement Poems
    R. Barton Palmer, Georgia State University
  • The Dit Dou Vergier: The Untold Story
    Eric Steinle, University of California-Berkeley
  • Poetic Remedies and "humble secours" in the Judgement Poems
    Lawrence de Looze, University of Toronto

Other Machaut papers and performances

  • None in 1986

The International Machaut Society held its first annual meeting at Kalamazoo in 1985. The Society sponsored two sessions at the International Congress on Medieval Studies on Friday, May 10, and Saturday, May 11. The Society also hosted a business meeting and reception on Friday, May 10

Machaut: Music, Literature, and Performance
Session 187, 3:30 p.m., Friday, May 10

  • Scoring in Machaut's Setting of Formes Fixes
    Jean Harden, Cornell Univ.
  • The Two Musics in Machaut's Rose, lis
    Blake Wilson, Indiana Univ.
  • Performance of Selected Machaut Formes Fixes
    Fiori Musicali, Portage, MI

The Illuminated Manuscript: Machaut and his Context
Session 294, 3:30 p.m., Saturday, May 11

  • Machaut and the Tradition of Textual Illumination
    Sylvia Huot
  • Author Portraits and Textual Demarcation in Roman de la Rose Manuscripts
    David F. Hult, Johns Hopkins Univ.
  • The Centrality of Justice in the Program of Illustrations of Aristotle's Nichomachean Ethics (Bruss.y B.R. M.S. 9505-06)
    Claire R. Sherman, Washington, D.C.

Other Machaut papers and performances

  • "Car tu as scens, rétorique et musique": Machaut's Musical Narrative of the Remède de Fortune
    Eric Steinle, Univ. of California-Berkeley
    Respondent: Eliza M. Ghil, Univ. of New Orleans
    Session 142, Resistance and Reference: The Musical Design of Medieval and Renaissance Poetry, 1:30 p.m., Friday, May 10

1984

  • Guillaume de Machaut, Musician and Poet, I
    Session 70, 10:00 am, Friday, May 11
    Sponsor: The Medieval Association of the Midwest
    • Text-Music Relationships in Guillaume de Machaut's Settings of Ballades, Rondeaux, and Virelais
      Jean Harden, Cornell Univ.
      Respondent: Elisabeth Keitel, Yale Univ.
    • The Thematization of the Poetic Process in Guillaume de Machaut's "Fonteinne Amoureuse"
      Lawrence de Looze, Univ. of Toronto
      Respondent: Kevin Brownlee, Dartmouth College
    • Guillaume de Machaut et I'icriture du cercle
      Jacqueline Cerquiglini, Univ. of Orleans
      Respondent: Kevin Brownlee
  • Guillaume de Machaut, Musician and Poet, II
    Session 104, 1:30 p.m., Friday, May 11
    Sponsor: The Medieval Association of the Midwest
    • Singing and Writing in "Dit de la Harpe"
      Sylvia Huot, Univ. of Chicago
      Respondent: Sarah Jane Williams, DePauw Univ.
    • Machaut's Compositional Process
      Theodore Karp, Northwestern Univ.
      Respondent: Hans Tischler, Indiana Univ.
    • Machaut's Role in the Production of the Definitive Manuscript of His Works: Paris, B.N., fr. 1584
      Lawrence M. Earp, Princeton Univ.
      Respondent: Sarah Jane Williams
  • Guillaume de Machaut, Musician and Poet, III
    Session 138, 3:30 p.m., Friday, May 11
    Sponsor: The Medieval Association of the Midwest
    • Panel Discussion: Guillaume de Machaut: A Prospecturs for Scholarship
    • Panelists:
      Sarah Jane Williams, DePauw Univ.
      Jean Harden, Cornell Univ.
      Elisabeth Keitel, Yale Univ.
      Lawrence de Looze, Univ. of Toronto
      Kevin Brownlee, Dartmouth College Jacqueline Cerquiglini, Univ. of Orleans
      Sylvia Huot, Univ. of Chicago
      Theodore Karp, Northwestern Univ.
      Hans Tischler, Indiana Univ.
      Lawrence M. Earp, Princeton Univ.
  • The Lyric Lai Before Machaut
    Hans Tischler, Indiana Univ.
    Session 174, Medieval Music and Musicology IV: Music for Voices and Instruments, 10:00 a.m., Saturday, May 12
  • Machaut and Chaucer: Ars Nova and Narrative Style
    Thomas P. Campbell, Wabash College
    Session 294, Chaucer and Other Poets, 10:00 a.m., Sunday, May 13

1983

  • The Illuminated Series of Lays in an Early Machaut Manuscript
    Sylvia Huot, University of Chicago
    Session 093, Courtly Literature I, 1:30 p.m., Friday, May 6
  • Lyric Usage in the Dits of Machaut
    Sarah Jane Williams, DePauw University
    Session 244, Musical and Textual Relationships in Medieval Forms, 10:00 a.m., Sunday, May 8

1982

  • Metaphoric Love Experience and Poetic Craft: Guillaume de Machaut's Fonteinne Amoureuse
    Kevin Brownlee, Dartmouth College
    Session 090, Symposium on the Poetics of Love, IV: Metaphors of Love, 1:30 p.m., Friday, May 7
  • Late-Medieval Mentality and the Function of the Artist: Intertexuality and Mise en abyme in Guillaume de Machaut
    William Calin, University of Oregon
    Session 142, Symposium on the Mentality of the Late Middle Ages, V, 3:30 p.m., Friday, May 7

1981

  • The Relationship Between Text and Music in Guillaume De Machaut's Lai de Bonne Esperance
    Elizabeth A. Keitel, Yale University
    Session 163, Medieval Secular Monophony: Special Problems in Analysis of Text and Music, 1:30 p.m., Saturday, May 9

1980

  • No presentations on Machaut

1979

  • No presentations on Machaut

1978

  • Guillaume de Machaut and the Politics of Courtly Love
    Patricia J. Eberle, Harvard University
    Session 113, French Literature III: Late Middle Ages and Renaissance, 10:00 a.m., Saturday, May 6

1977

  • Diversity of Materials, Forms, and Styles in Guillaume de Machaut's Voir Dit
    Sarah Jane Williams, DePauw University
    Session 025, Music I, 1:00 p.m., Friday, May 6
  • Special Concert Commemorating the 600th Anniversary of the Death of Machaut
    The Calvin College Collegium Musicum; Calvin Stapert, Director
    8:00 p.m., Friday, May 6

1976

  • Chaucer's Love Lyrics and Guillaume de Machaut
    James I. Wimsatt, University of North Carolina, Greensboro
    Session 019, Chaucer I: Sources and Correspondences, 1:00 p.m., Monday, May 3
  • Machaut's "Legend of Good Women": A Reading of the Jugement dou Roy do Navarre
    Shirley M. Lukitsch, Madison, Wisconsin
    Session 114, Comparative Literature II, 1:00 p.m., Wednesday, May 5

1975

  • No presentations on Machaut

1974

  • Guillaume de Machaut's Dit de la Fonteinne amoureuse, Mythography and Exegesis, and the Duties of Kings
    Margaret J. Ehrhart, University of Illinois at Urbana-Champaign
    Session 071, French Literature IV, 10:15 a.m., Friday, May 10

1973

  • No presentations on Machaut

1972

  • The Combination of Biblical and Mythological Typology in Guillaume de Machaut's Confort d'ami
    Martha Wallen, The University of Wisconsin, Madison
    General Session IX, Mythological Typology in Late Medieval Poetry, 9:30 a.m., Tuesday, May 2

1971

  • The Sublimation of Love in Guillaume de Machaut's Remede de Fortune
    Douglas Kelly, The University of Wisconsin, Madison
    Section CC, French Literature, 9:30 a.m., Wednesday, May 19

1970

  • The Medieval Paraphrase of Aristotle's Poetics and Some Poems by Dante, Machaut, and Chaucer
    Richard Detlef, The Ohio State University
    Section AA, General Literature, 1:00 p.m., Thursday, May 21
  • Concert: The Notre Dame Mass (ca. 1364) of Guillaume de Machaut
    The Society for Old Music of Western Michigan University. Conductor: Audrey Davidson, Western Michigan University; Associate Conductor: Theodore Toews, Kalamazoo Valley Community College
    9:00 p.m., Thursday, May 21

1968

  • No presentations on Machaut

1966

  • No presentations on Machaut

1964

  • No presentations on Machaut

1962

  • No presentations on Machaut