Guillaume de Machaut was the foremost poet-composer of his time. Studies look at all aspects of his prodigious output.

Symmetry and Dissymmetry in the Music of the Lay de Bonne Esperance (L18/13) - Virginia NewesSPECULUM MORTIS: Form and Signification in Machaut's Motet Hé Mors / Fine Amour / Quare non sum mortuus (M3) - Jacques BoogaartObservations on Machaut's Hé Mors, com tu es haie / Fine Amour, qui me vint navrer / Quare non sum mortuus (M3) - Alice V. ClarkFlos / Celsa and Machaut's Motets: Emulation - and Error? - Thomas BrownTexture and Counterpoint in the Four-Voice Mass Settings of Machaut and his Contemporaries - Kevin N MollThe 'Harmony' of the Machaut Mass - Margaret BentMachaut's Mass and Sounding NumberSinging More About Singing Less: Machaut's Pour ce que tous (B12) - Elizabeth Eva LeachMusic Writing and Poetic Voice in Machaut: Some Remarks on B12 and R14 - Anne StoneA Portrayal of the Lady who Guards her Honour (B25) - Jehoash HirshbergMachaut's B-flat Balade Honte, paour (B25) - Peter M. LeffertsThe Intabulation of De toutes flours (B31) in the Codex Faenza as Analytical Model - Jane E FlynnMachaut's Balade Ploures dames (B32) in the Light of Real Modality - Christian BergerBalades 32 and 33 and the 'res dalemangne' - Jennifer BainMale and Female Voice in Two Virelais of Guillaume de Machaut - William MahrtThe Marriage of Words and Music: Musique Naturele and Musique Artificiele in Machaut's Sans cuer, dolens (R4)(R4) - Yolanda PlumleyRose, lis Revisited - Daniel Leech-WilkinsonSome Observations Regarding Musico-Textual Interrelationships in Late Rondeaux by Machaut - Karl Kugle