A comparison of Ars nova motets by De Vitry and Machaut and their contemporaries, shows they are closely related by compositional detail. Comparable external stylistic features and constructional formulae suggest a link between the works of each composer, as well as a link between the two. The features that link these works are the type a composer may borrow either from another composer or from one of his own preexisting works. Related features include color length, quantity of chant notes, and integer valor length. The application of similar compositional strategies suggests these motets were composed during the same period. Although these findings do not reveal a concrete chronology, or provide definitive answers in regards to attribution, they do suggest that the isorhythmic repertoire, pre-1365, was the output of a small group of composers who knew each others' work.

Works: Vitry: Cum/Hugo/Magister invidie (1-2, 16, 19), Tuba/In arboris/Virgo sum (1-2, 11-13, 15-16, 18, 20), O Canenda/Rex/Rex regum (2, 11, 16); Vos/Gratissima/Gaude gloriosa (2,16,19), Impudenter/Virtutibus/Alma redemptoris mater (2-3, 6, 8-9, 12-13, 16, 18), Colla/Bona/Libera me (2, 6, 16, 19), Douce/Garison/Neuma (5-6, 16), Petre/Lugentium (9, 14, 18); Machaut: Christe/Veni/Tribulatio (3-4, 14, 16), Tu qui/Plange/ Apprehende (3,16), Felix/Inviolata/Ad te suspiramus (3-4, 16), Amours/Faus/Vidi Dominum (4, 14), Bone/Bone/Bone pastor (4, 12, 14, 16, 19), Aucune/Qui/Fiat voluntas tua (5-6 16, 19-20), Tout/De souspirant/Suspiro (13-14, 16, 19), Qui es/Ha fortune/Et non est qui adjuvet (12, 16-17, 19), Hareu/Hareu/Obediens usque ad mortem (12); Ivrea/Anon.: In virtute/Decens/Clamour meus (3, 5-6, 8, 16, 18-19), Flos/Celsa/Quam magnus pontifex (6, 11-12, 16-19), Fortune/Ma doloreus/Tristis est anima mea (6, 12, 14, 16, 19), A vous/Ad te/Regnem mundi (6, 15, 16, 17, 19), Rachel/Ha fratres (6, 12, 16-19), Almifonis/Rosa (6, 12-14, 16, 20), Amer/Durement/Dolour meus (6, 12-14, 16), Se paour/Diex/Concupisco (6, 12, 14-15, 16, 19,), Zolomina/Nazerea/Ave Maria (7, 12, 16-17, 19), Trop/Par Sauvage (7, 12, 16-17, 19), L'amoureuse/En l'estat (7, 12, 15-17), Mon chant/Qui doloreus/Tristis est anima mea (7, 12, 16-17, 19), Apta/Flos/Alma redemptoris mater (8-9, 16, 19), Portio/Ida/Ante tronum (10, 16), Apollinis/In omnem terram (10, 16, 20), Tant/Bien/Cuius pulchritudinum (15-16, 19), Les Mayn/Je n'y saindrai plus (19); Et in terra (10, 16); F-Pn67/Anon.: Musicalis/Sciencie/Alleluia (6, 16); Chantilly Ms./Anon: Sub arturo/Fons/In omnem terram (10).

Sources: Vitry: Douce/Garison/Neuma (5); Anon.: In virtute/Decens/Clamour meus (3), Et in terra (10), Almifonis Ros (13), Se paour/Diex/Concupisco (6, 14-15, 16, 19).

Index Classifications: 1300s

Contributed by: Dana Gorzelany-Mostak