@article{
 title = {Compositional procedure in the four-part isorhythmic works of Philippe de Vitry and his contemporaries},
 type = {article},
 year = {1983},
 keywords = {68: Theory,Guillaume de Machaut -- style -- isorhythmic work,Philippe de Vitry -- style -- motets,analysis,and composition -- Computer and electronic compos,four-part isorhythmic,isorhythm -- four-part works -- ca. 1317-65,manuscripts and prints—by location -- Ivrea -- Bi},
 month = {1},
 id = {ef6b93c2-09c3-36ed-a0be-0a54debc51b9},
 created = {2010-10-13T21:12:06.000Z},
 file_attached = {false},
 profile_id = {992ba1bc-1967-3b6a-a728-baa12466e495},
 group_id = {c0eb349a-6e84-3b18-a0e1-cfb072910808},
 last_modified = {2010-10-13T21:15:06.000Z},
 read = {false},
 starred = {false},
 authored = {false},
 confirmed = {true},
 hidden = {false},
 citation_key = {leech-wilkinson_compositional_1983},
 source_type = {article},
 abstract = {Fourteenth-c. isorhythmic works are so rigidly constructed that the compositional procedure involved may be reconstructed in great detail from the surviving music. Each of the four-part isorhythmic compositions from ca. 1317-65 (motets by Philippe de Vitry, Guillaume de Machaut, and in the Ivrea codex, as well as Machaut's Messe de Notre Dame) is examined in turn, its compositional procedure reconstructed, and exceptions to isorhythmic regularity explained. The chronological development of the 14th-c. motet is considered afresh; and new evidence concerning origins and interrelationships comes to light. The evidence of medieval theorists is presented (with new editions of Egidius de Murino and the opening of the Tractatus figurarum); and new editions are provided for all the compositions discussed.},
 bibtype = {article},
 author = {Leech-Wilkinson, Daniel J (Author)}
}

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