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Philippe de Vitry (31 October 1291 – 9 June 1361) was a French composer-poet, bishop and music theorist in the ars nova style of late medieval music. An accomplished, innovative, and influential composer, he was widely acknowledged as a leading musician of his day; the early Renaissance scholar Petrarch wrote a glowing tribute, calling him: "... the keenest and most ardent seeker of truth, so great a philosopher of our age."[1] The important music treatise Ars nova notandi (1322) is usually attributed to Vitry.

It is thought that few of Vitry's compositions survive; though he wrote secular music, only his sacred works are extant.

Life and career

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Details of Philippe de Vitry's early life are vague. While some medieval sources claim that he was born in the Champagne region, modern researchers have found that he may have originated from Vitry-en-Artois near Arras.[2][page needed]

Given that he is often referred to in documents as a Magister, Vitry is thought likely to have studied at the University of Paris. Later he was prominent in the courts of Charles IV, Philippe VI and Jean II, serving as a secretary and advisor. Perhaps aided by these Bourbon connections, he also held several canonries, including Clermont, Beauvais and Paris, also serving for a time in the papal retinue at Avignon starting with Clement VI. In addition to all this, he was a diplomat and a soldier, known to have served at the siege of Aiguillon in 1346.[3]

In 1351 Vitry became Bishop of Meaux, east of Paris. Moving in all the most important political, artistic and ecclesiastical circles, he was acquainted with many lights of the age, including the Italian scholar Petrarch and the mathematician, philosopher and music theorist Nicole Oresme. Vitry died in Paris on 9 June 1361.[3]

Music

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Heu Fortuna, (Bibliothèque nationale de France)

Manuscript of Vitry's Aman novi/Heu Fortuna/Heu me, tristis est anima mea from F-Pnm Français 146, a version of the Roman de Fauvel.

Vitry is most famous in music history for the treatise on music Ars nova notandi (1322), that lent its name to the music of the era. His authorship—and the very existence of—the treatise have come into question.

A few of Vitry's compositions have survived. They show the innovations in musical notation, particularly mensural and rhythmic, with which he was credited within a century of their inception. Such innovations as are exemplified in his stylistically-attributed motets for the Roman de Fauvel were particularly important; they made possible the free and complex music of the next 100 years, which culminated in the Ars subtilior.

Vitry is reputed to have written chansons, but only some of his motets have survived. Each is strikingly individual, exploiting a unique structural idea. He is also often credited with developing the concept of isorhythmic lines.[note 1] Five of his three-part motets have survived in the Roman de Fauvel; an additional nine can be found in the Ivrea Codex.

Works

[edit]

While there is still debate about what Vitry did and did not compose, the first 16 works here, all motets, are widely considered to be his.[4] Few of Vitry's compositions survive. He wrote secular music, but only his sacred works are extant.[5]

Attributed on strong historical evidence[4]
  1. Aman novi / Heu Fortuna / Heu me, tristis est anima mea
  2. Cum statua / Hugo / Magister invidie
  3. Douce playsence / Garison / Neuma quinti toni
  4. Floret / Florens / Neuma
  5. Garrit gallus / In nova fert / Neuma
  6. Impudenter circuivi / Virtutibus / Contratenor / Tenor
  7. O canenda / Rex quem / Contratenor / Rex regum
  8. Petre clemens / Lugentium / Tenor
  9. Tribum / Quoniam secta / Merito hec patimur
  10. Tuba sacre fidei / In arboris / Virgo sum
  11. Vos quid admiramini / Gratissima / Contratenor / Gaude gloriosa

Note: The motet Phi millies / O creator / Iacet granum / Quam sufflabit and the ballade De terre en grec Gaulle appellee are securely attributed to Vitry, but no music for the latter survives, whilst the former survives only fragmentarily (see Zayaruznaya, 2018).

Attributed on a combination of weaker historical evidence and stylistic grounds[4]
  1. Colla iugo / Bona condit / Libera me Domine
  2. Firmissime / Adesto / Alleluya, Benedictus
  3. Flos ortus / Celsa cedrus / Tenor
  4. Orbis orbatus / Vos pastores / Fur non venit (less widely accepted)
  5. Quid scire proderit / Dantur officia (less widely accepted)
Attributed on stylistic grounds alone (not widely accepted)[4]
  1. Almifonis / Rosa / Tenor
  2. Amer / Durement / Dolor meus
  3. Apta caro / Flos / Alma redemptorisa mater
  4. In virtute / Decens carmen / Clamor meus / Contratenor
  5. O Philippe / O bone
  6. Per grama protho paret
  7. Scariotis / Jure
  8. Se cuers / Rex
  9. Se paour / Diex / Concupisco
  10. Servant regem / O Philippe / Rex regum

Recordings

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2009 – En un gardin. Les quatre saisons de l'Ars Nova. Manuscrits de Stavelot, Mons, Utrecht, Leiden. Capilla Flamenca. MEW 0852. Contains recordings of "Vos quid admiramini virginem / Gratissima virginis / Gaude gloriosa" and "Adesto sancta trinitas / Firmissime fidem / Alleluia Benedicta" by Philippe de Vitry.

Notes

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References

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Sources

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  • Bent, Margaret (2018) [2001]. "Vitry, Philippe de". Grove Music Online. Revised by Andrew Wathey. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.29535. ISBN 978-1-56159-2-630.
  • Robertson, Anne Walters (1998). "Which Vitry? The Witness of the Trinity Motet from the Roman de Fauvel"". In Pesce, Dolores (ed.). Hearing the Motet: Essays on the Motet of the Middle Ages and Renaissance. New York; Oxford: Oxford University Press. ISBN 978-01953-5-165-1.
  • Sanders, Ernest H. "Philippe de Vitry". The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1-56159-174-2
  • Wilkins, Nigel (2001). "Chanson". Grove Music Online. Revised by David Fallows, Howard Mayer Brown and Richard Freedman. Oxford: Oxford University Press. doi:10.1093/gmo/9781561592630.article.40032. ISBN 978-1-56159-263-0. Retrieved 20 June 2021. (subscription, Wikilibrary access, or UK public library membership required)

Further reading

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Philippe de Vitry

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Philippe de Vitry (c. 1291–1361) was a French composer, poet, music theorist, bishop, and diplomat of the early fourteenth century, best known for his innovations in musical notation and composition that defined the Ars nova style of late medieval polyphony. Attributed authorship of the treatise Ars nova notandi (c. 1322), he outlined a system of mensural notation that enabled greater rhythmic precision and complexity, facilitating the evolution from earlier motet forms to more sophisticated isorhythmic structures. As bishop of Meaux from 1351, Vitry also served in administrative and advisory roles to French royalty, including Philip VI and John II, while composing polyphonic motets such as In arboris and contributing to the satirical codex Roman de Fauvel, which incorporated several of his works. His multifaceted career bridged ecclesiastical, scholarly, and artistic domains, exerting lasting influence on European music theory and practice amid the cultural transitions of the Avignon Papacy era.

Biography

Early Life and Education

Philippe de Vitry was born on 31 October 1291, with modern scholarship favoring Vitry-en-Artois near as his birthplace based on analysis of contemporary documents and regional associations, though earlier accounts proposed locations such as Champagne or . Little is documented about his immediate family or childhood, but records indicate his father held a position in the French royal chancellery, suggesting early exposure to administrative and courtly environments. De Vitry likely received his higher education at the , including studies at the Sorbonne, where he obtained a degree, as evidenced by his consistent reference as magister in fourteenth-century sources. This academic attainment positioned him among the era's intellectuals, though specific details of his curriculum or mentors remain unrecorded. His early clerical as a further implies foundational training in matters alongside secular learning.

Ecclesiastical and Diplomatic Career

Philippe de Vitry pursued a distinguished career within the , accumulating benefices that supported his administrative and diplomatic endeavors. By August 1322, he held a canonry at the of Notre-Dame in Clermont-en-is, the familial church of the counts of Clermont. He later secured additional canonries at Clermont, , , and , positions that yielded financial benefits typical for clerics advancing through patronage networks tied to noble houses like Bourbon. De Vitry's diplomatic roles began in service to (also Count of Clermont), for whom he acted as clerk, administrator, and envoy over approximately two decades starting in the 1320s. He frequently represented Bourbon interests at the papal court in , handling missions between 1326 and 1337, and extended this role to the French royal chancery. Transitioning to direct royal service under Philip VI (r. 1328–1350) and John II (r. 1350–1364), he functioned as secretary, advisor, and diplomat, undertaking multiple political missions to amid the . In 1346, he participated militarily in the Siege of Aiguillon during the . The apex of de Vitry's ascent occurred in December 1351, when appointed him Bishop of during one of his visits, a post he retained until his death on June 9, 1361. As bishop, he integrated church duties with ongoing crown , notably advancing French royal objectives in 1350 under John II and contributing to administrative reforms. In March 1357, of Languedoil named him one of nine Réformateurs Généraux, tasked with purging in the royal regime amid fiscal crises. This blend of roles underscored his influence across , noble, and royal spheres, though primary documentation emphasizes administrative efficacy over theological contributions.

Musical Compositions

Motets and Polyphonic Works

Philippe de Vitry's surviving polyphonic compositions are predominantly motets, complex vocal works featuring multiple texted voices over a foundational derived from . Approximately 13 three-voice motets are attributed to him, drawn from manuscripts such as the (c. 1318), which includes at least five of his contributions among its 34 motets. These works exemplify early style, emphasizing rhythmic innovation and —a technique where the tenor repeats a fixed rhythmic pattern (taleae) across color (pitch sequences) from Gregorian sources. Key attributed motets include Garrit gallus / In nova fert / Neuma (c. 1315), an isorhythmic piece critiquing clerical corruption through bird metaphors in the upper voices, and In arboris / Imparabilis / Garrit gallus, which employs hocket and for textural contrast. Others, such as Tuba sacre fidei / In arboris / Virgo sum, integrate advances, with the tenor rubric specifying "Virgo sum" from the , demonstrating Vitry's theoretical principles in practice. Authenticity debates persist, with some attributions like Servant regem / O Philippe affirmed by modern scholarship based on stylistic consistency and evidence, while others remain provisional due to limited contemporary ascriptions. No secular polyphonic chansons by Vitry survive, underscoring the motet's dominance in his oeuvre as a vehicle for both sacred devotion and political commentary, often aligning with his diplomatic career. Polyphonic cycles or other forms are absent from his catalog, focusing scholarly attention on these motets as pivotal to fourteenth-century transitions from .

Innovations in Musical Structure

Philippe de Vitry advanced musical structure through his motets by systematizing , a technique featuring a fixed melodic (color) overlaid with repeating rhythmic patterns (talea) in the voice, enabling extended forms with underlying unity and rhythmic variation. This innovation, evident in works from the early 1320s, allowed for greater complexity in while maintaining structural coherence, contrasting with the more uniform rhythms of prior motets. In the isorhythmic Garrit Gallus / In nova fert / Neuma (c. 1315), the repeats the talea multiple times across the color, supporting duplum and triplum voices that employ hocket—alternating notes between parts—and , creating dynamic interplay and rhythmic vitality. Similarly, Firmissime / Adesto / Alleluia integrates with canonic elements in the upper voices, demonstrating de Vitry's exploration of imitative structures and proportional relationships derived from mensural divisions. De Vitry's motets in the manuscript (c. 1318), such as / Lugent / Firme, incorporate structural innovations like varying talea lengths and colored notation to denote temporary shifts in mensuration, facilitating expressive contrasts and symbolic textual-musical alignments. These techniques, while building on precedents, were refined by de Vitry to support longer, more architectonic compositions, influencing contemporaries like in crafting motets with elaborate, non-literal repetitions. Although isorhythmic elements appeared earlier, de Vitry's application marked a pivotal evolution in motet design, prioritizing rhythmic periodicity for formal expansion.

Theoretical Contributions

Mensural Notation Developments

Philippe de Vitry contributed to the evolution of by systematizing techniques for notating rhythmic proportions and subdivisions, moving beyond the constraints of earlier modal rhythms toward a more flexible system capable of expressing complex polyphonic structures. In the early 14th century, built on 13th-century foundations by Franco of Cologne, which primarily emphasized triple divisions (perfect mensuration), but Vitry's innovations, as outlined in treatises associated with him, introduced binary () divisions at multiple levels, including the long-breve and breve-semibreve relationships. This allowed composers to specify tempus—whether perfectus (ternary) or imperfectus (binary)—and prolatio, the subdivision of the semibreve into three or two minims, using notational signs like the circle (O for perfect) or semicircle (C for ). A key development attributed to Vitry involved the use of coloration—red or void (unfilled) —to alter mensural values temporarily, such as reducing note values by a third in duple mensurations to produce ternary figures, as seen in his Tuba sacrae fidei. These techniques enabled precise notational control over isorhythmic structures in motets, where a repeating rhythmic (talea) could interact with a color (pitch sequence) under varying mensurations, facilitating greater rhythmic complexity without reliance on ambiguous modal patterns. Vitry's approach clarified ambiguities in prior systems by standardizing signs for proportions, such as the reversed C for sesquialtera (3:2) ratios, though some elements like binary tempus appear in pre-ars nova sources, suggesting Vitry refined rather than originated them. The treatise, traditionally linked to Vitry around 1320–1322, exemplifies these advancements by describing a "modern" notation that supported duple divisions systematically, influencing composers like . However, scholarly debate persists on authorship, with evidence indicating the text may draw from or parallel works by contemporaries like Jean de Muris, and not all innovations were uniquely Vitry's; for instance, void notes for imperfect mensuration predate him in Italian practices. Despite this, Vitry's motets demonstrate practical application, such as in In arboris/Virgo sum/Impresario, where layered mensurations create contrapuntal rhythm, evidencing his role in disseminating these methods through composition and theoretical exposition.

The Ars Nova Treatise and Authorship Debate

The Ars nova notandi, commonly referred to as the Ars nova treatise, outlines innovations in that facilitated greater rhythmic flexibility in 14th-century music, including the division of the into three or more semibreves and the use of colored notes to indicate altered durations. Traditionally dated to around 1322 and attributed to Philippe de Vitry, the text is credited with coining the term "" to distinguish these developments from the preceding rhythmic modes. Contemporary accounts, such as those in Anonymous V (c. 1320s), associate de Vitry with pioneering notational practices like the four prolations (temporal divisions), though they do not explicitly reference a written treatise by him. No complete of the Ars nova survives intact; extant versions appear as fragments or abridged compilations in sources such as the 14th-century Parisian manuscript P 7378A and the c. 1400 Italian Q 15 (V 307-II), which exhibit inconsistencies in structure, terminology, and content—for instance, varying classifications of semibreve groupings. These discrepancies, including contradictory attributions within the manuscripts themselves, indicate that the text likely represents a composite derived from pedagogical transmissions rather than a singular authored . Scholarly debate intensified in the late 20th century, with musicologist Sarah Fuller arguing in 1985 that the constitutes a "phantom treatise"—a historiographical construct pieced together from de Vitry's reported teachings and disciples' notes, lacking of direct composition by him. Fuller's highlights the absence of unified textual stability and suggests influences from contemporaries like Johannes de Muris, whose Ars novae musicae (c. 1320) overlaps in discussing prolations and mensuration. Earlier editors, such as those in the Corpus scriptorum de musica series, assumed de Vitry's authorship by reconstructing a cohesive narrative from disparate sources, but this approach has been critiqued for presupposing the treatise's existence to fit historical narratives of origins. Despite these challenges, de Vitry's theoretical influence remains undisputed through indirect evidence, including quotations in later works like his possible contributions to the Ars vetus et nova fragments and endorsements by figures such as Jacques de Liège, who praised his notational advancements without confirming a specific text. The authorship question underscores broader issues in theory transmission, where oral and manuscript traditions often blurred lines between innovation, attribution, and compilation.

Poetic and Intellectual Works

Poetry and Literary Output

Philippe de Vitry's literary output encompasses poetic texts for his motets as well as independent poems, though much of his non-musical poetry has not survived, with contemporary accounts referencing additional works now lost. His verses often employed , moral , and rhetorical sophistication, reflecting his and diplomatic milieu. A key surviving independent work is Le Dit de Franc Gontier, a satirical poem advocating a simple, Franciscan-inspired life of and detachment from worldly vanities over the corruptions of and . Composed likely in the 1320s or 1330s, it contrasts the misery of tyrants and prelates with the contentment of the humble "Franc Gontier," prompting rebuttals such as Cardinal Pierre d'Ailly's Combien est misérable la vie du tyran, which defended hierarchical authority. The poem's 32 octosyllabic lines exemplify Vitry's concise, ironic style, influencing later poets like in their own Contredicts de Franc Gontier. Vitry engaged in poetic debates, notably an exchange of ballades with Jean de le Mote preserved in manuscripts like MS French 15. In these, Vitry critiques le Mote's service to English patrons and poetic choices, addressing him as "O Victriens, mondains Dieu d'armonie" in a half of the correspondence that highlights tensions over national loyalty and artistic integrity during the . His texts form the bulk of extant , typically in Latin with French elements, integrating complex isorhythmic structures with themes of fortune's caprice and divine judgment; for instance, the triplum of Aman novi probatur / Heu, subdola / Heu me, tristis est anima mea laments deceptive fortune through allusions to , Phaeton, and Dante, underscoring personal and societal instability. These texts, self-authored for works like those in the manuscript (c. 1316–1318), satirize papal politics and moral decay, as in Tribum/Quoniam/Merito, which condemns and imperial pretensions. Such integration of and advanced aesthetics, prioritizing textual-musical isomorphism.

Broader Intellectual Influence

Philippe de Vitry's intellectual reputation extended into , where contemporaries such as Francesco Petrarch regarded him as a distinguished thinker, addressing letters to him that lamented the perceived decline of his once-acute mind and preserved some of his texts. This recognition positioned Vitry as a bridging medieval and emerging humanistic interests, with Petrarchan circles in and Germanic regions elevating his post-mortem literary standing. His poetic output, particularly the texts of his motets, exerted influence on early by circulating independently of music in fifteenth-century anthologies compiled by Petrarch's northern followers, who transmitted them alongside canonical humanistic works to emphasize rhetorical and ethical themes. These texts, often satirical or moralistic, were credited by contemporaries like the author of the Règles de la seconde rhétorique with pioneering musico-poetic forms such as motets and ballades, contributing to the evolution of toward greater expressivity. Such dissemination facilitated the integration of Vitry's rhetorical innovations into broader literary discourse, influencing the transition from poetic conventions to more individualized humanistic expression. Vitry's associations further amplified his impact in mathematical and scientific thought; , a prominent fourteenth-century scholar in and , dedicated his Algorismus proportionum (c. 1350s) on proportional ratios to Vitry, acknowledging his stature in quantitative reasoning pertinent to and astronomy. This dedication underscores Vitry's role in fostering interdisciplinary dialogue, as Oresme's work extended proportional concepts from Vitry's notational innovations into empirical studies of motion and cosmology, prefiguring later developments in proto-scientific methodology.

Reception and Controversies

Contemporary Opposition to Ars Nova

The Ars Nova's innovations in and rhythmic complexity elicited theoretical opposition from adherents of the , who viewed the new practices as deviations from established modal traditions rooted in ancient authorities like . The most prominent critic was Jacobus de Ispania (also known as Jacobus of ), a Dominican theorist active in the 1320s, whose Speculum musicae—a comprehensive seven-book spanning over 500 chapters—systematically defended the proportional rhythms and structural simplicity of pre-Ars Nova music against the "excessive subtlety" (subtilitas) introduced by innovators such as Philippe de Vitry and Jean des Murs. Jacobus argued that the Ars Nova's allowance for imperfect mensural divisions (e.g., duple time over triple) and diminutive note values disrupted the natural mathematical harmonies of the , rendering music artificially intricate and prone to performer errors in tempus and prolation. Jacobus's critique extended beyond notation to broader philosophical concerns, portraying Ars Nova techniques as a form of intellectual overreach that prioritized novelty over the timeless consonance of senaria (groups of six ) and traditional modus groupings. He contended that such innovations threatened the moral and ethical foundations of music, echoing earlier medieval suspicions of subtilior as diabolical or deceptive, and insisted on adhering to the "old art" to preserve music's role in divine order and liturgical propriety. While Jacobus did not name specific composers, his treatise implicitly targeted the rhythmic freedoms exemplified in early motets, such as those attributed to Vitry, which employed and to achieve expressive effects unattainable under stricter modal constraints. This opposition, though primarily theoretical and confined to academic circles rather than widespread practical rejection, underscored a generational tension between conservative and the empirical advancements driven by performers and composers adapting to more intricate . Jacobus's work, circulated in and by the mid-1330s, influenced subsequent theorists but failed to halt the Ars Nova's adoption in courtly and settings, where practical notation needs favored innovation over doctrinal purity.

Advocacy and Defense of Innovations

Philippe de Vitry promoted the Ars Nova through his treatise Ars nova, composed circa 1322, which codified mensural notation advancements including four prolations and colored notes for proportional shifts, offering a theoretical justification for rhythmic complexities unattainable under prior modal systems. This framework addressed limitations in Ars Antiqua practices by establishing precise durational relationships via binary subdivisions of the long and breve. Vitry defended these innovations against detractors who labeled advanced chromatic and rhythmic devices as musica falsa, arguing in the that such "false music" constituted valid, essential elements of composition, necessary for resolving dissonances like the into perfect intervals. He emphasized their role in enhancing polyphonic consonance, countering purist objections rooted in strict adherence to the hexachordal . Complementing theory, Vitry's s exemplified the innovations in practice; five appear in the manuscript (1316–1318), with Tribum/Quoniam/MERITO pioneering isorhythmic structures and notational freedoms that influenced motet composition for over a century. These works disseminated techniques at royal courts, where Vitry's diplomatic roles facilitated their uptake. Modern scholarship qualifies Vitry's inventorship, positing that prolations and semibreves predated him in Italian and French sources, yet affirms his synthesis and advocacy elevated these into a cohesive system, countering narratives of singular genius with evidence of collaborative evolution.

Legacy and Modern Scholarship

Influence on Medieval and Renaissance Music

Vitry's development of advanced , detailed in his treatise composed around 1322, introduced precise symbols for duple meter divisions, , and proportional note values such as the minim and semiminim, surpassing the limitations of earlier Franconian notation. These innovations enabled composers to notate and perform intricate rhythmic patterns in , shifting music from the modal rhythms of the toward greater flexibility and complexity. His motets, including exemplars like In arboris/Firmenichor and contributions to the 1316 manuscript, applied these techniques to create isorhythmic structures—repeating rhythmic patterns (talea) against varying melodic sequences (color)—which became a hallmark of 14th-century composition. (c. 1300–1377), the era's preeminent composer, explicitly adopted and expanded Vitry's isorhythmic motets, basing works such as Nausis parvus/Ma fin est mon commencement on Vitry's models to achieve structural depth and symbolic layering. The Ars nova framework influenced Italian trecento composers, including Francesco Landini, by disseminating notational standards across Europe, fostering motet forms that prioritized textual symbolism and rhythmic vitality over strict syllabic alignment. This rhythmic emancipation contributed to the stylistic evolution of late , enhancing expressiveness through varied durations and , as evidenced in the proliferation of vernacular chansons and sacred by mid-century. While direct attributions wane by the early 15th century, Vitry's foundational notation persisted into , underpinning the rhythmic precision in works by Guillaume Dufay and the , where expanded mensural systems supported larger ensembles and imitative textures. Modern scholarship, drawing from manuscript analyses, credits these advancements with bridging medieval to the motet evolutions of , though interpretive debates persist regarding Vitry's exact authorship of surviving motets.

Recent Discoveries and Reattributions

In the late , scholarly examination of the fragments (Öffentliche Bibliothek der Stadt, Beise 14) yielded significant discoveries regarding Vitry's motets. Two new lower voices—a and contratenor—were identified for Petre / Lugentium, reinterpreting the codex's lowest voice as a solus and clarifying a conflated tenor-contratenor pair in the original structure. Separately, 148 breves of the triplum for Phi millies / O creator were reconstructed from the same fragments, supplying and isorhythmic patterns where only texts had previously survived; textual evidence dates this to the 1350s, illuminating Vitry's late-career innovations in notation and form. These findings underscore evolving polyphonic layering in motets and invite reassessment of Vitry's stylistic development. Attribution debates persist for the approximately twenty motets ascribed to Vitry, with few securely named in fourteenth-century sources. A 2017 analysis using sonority patterns—recurring vertical sonorities and anomalies—and stylistic kinship questioned several, including Aman / Garrit / Tribum and Floret, linked to the Roman de Fauvel compilation and potentially tied to figures like Enguerran de Marigny rather than Vitry himself. Such methods affirm a smaller core corpus consistent with Vitry's documented innovations, while highlighting the challenges of ascription amid limited primary ascriptions.

References

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  33. https://www.jstor.org/stable/20796011
  34. https://www.cambridge.org/core/books/cambridge-history-of-fifteenthcentury-music/fifteenthcentury-humanism-and-music-outside-italy/51610C80CC2E42825E12BB5D7C15BF1D
  35. https://publishing.cdlib.org/ucpressebooks/view?docId=ft4m3nb2n4&chunk.id=d0e10071
  36. https://www.nicole-oresme.com/seiten/oresme-biography.html
  37. https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-008005.xml
  38. https://www.academia.edu/68914497/Jacobus_and_the_benefit_of_historical_hindsight_Ars_Antiqua_and_Ars_Nova
  39. https://www.cambridge.org/core/books/music-and-the-moderni-13001350/subtilitas-and-the-ars-nova/74559502712C0948E845118DC769080C
  40. http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-008006.xml
  41. http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-008012.xml
  42. https://discover.hubpages.com/entertainment/Phillippe-de-Vitry-and-the-Ars-Nova-The-Early-History-of-Modern-Rhythmic-Notation-in-Music
  43. http://markalburgermusichistory.blogspot.com/8291/10/philippe-de-vitry-1291-1361.html
  44. https://sasktalent.ca/resources/history-of-classical-music/philippe-de-vitry.html
  45. https://www.uvm.edu/~hag/personal/portfolio/224paper3.html
  46. https://topfhelm.com/articles/medieval-music-from-origins-to-the-modern-era
  47. https://fdleone.com/2016/06/09/philippe-de-vitry-early-music-innovator/
  48. https://www.researchgate.net/publication/331534529_New_voices_for_Vitry
  49. https://www.ingentaconnect.com/content/10.11116/MTA.4.2.2
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