The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

F. Andrieu (fl. late 14th century; possibly François or Franciscus Andrieu) was a French composer in the ars nova style of late medieval music. Nothing is known for certain about him except that he wrote Armes, amours/O flour des flours (Weapons, loves/O flower of flowers), a double ballade déploration, for the death of Guillaume de Machaut in 1377. The work has been widely praised and analyzed; it is notable for being one of two extant medieval double ballades for four voices, the only known contemporary musical setting of Eustache Deschamps and the earliest representative of the longstanding medieval and Renaissance lamentation tradition between composers. Andrieu may be the same person as Magister Franciscus, although the scholarly consensus on this identification is unclear. With P. des Molins, Jehan Vaillant and Grimace, Andrieu was one of the "post-Machaut" generation whose pieces retain enough ars nova qualities to be differentiated from composers of ars subtilior.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

"Douce Dame Jolie", sometimes referred to only as 'Douce Dame', is a song from the 14th century, by the French composer Guillaume de Machaut. The song is a virelai, belonging to the style ars nova, and is one of the most often heard medieval tunes today. Many modern recordings omit the lyrics, however. One of the most famous musical pieces of the Middle Ages, 'Douce Dame' has been performed by a plethora of artists, mostly but not always in medieval style. Among others are Annwn (with lyrics), Ayragon (with lyrics), Theo Bleckmann (with lyrics), Els Berros de la Cort, Corvus Corax, Schelmish (with lyrics), Dr Cosgill, Fable of the Bees, Filia Irata, Två fisk och en fläsk (with lyrics), Wisby Vaganter, A La Via! (with lyrics), Lisa Lynne, The John Renbourn Group (with English lyrics), WirrWahr, Wolfenmond, Saltatio Mortis, Angels of Venice (soprano Christina Linhardt, harpist Carol Tatum) and Legião Urbana (no lyrics, named "A Ordem dos Templários" (The Templar Order))

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

Guillaume de Machaut (French: [ɡijom də maʃo], Old French: [ɡiˈʎawmə də maˈtʃaw(θ)]; also Machau and Machault; c. 1300 – April 1377) was a French composer and poet who was the central figure of the ars nova style in late medieval music. His dominance of the genre is such that modern musicologists use his death to separate the ars nova from the subsequent ars subtilior movement. Regarded as the most significant French composer and poet of the 14th century, he is often seen as the century's leading European composer. Machaut, one of the earliest European composers on whom considerable biographical information is available, has an unprecedented amount of surviving music, in part due to his own involvement in his manuscripts' creation and preservation. Machaut embodies the culmination of the poet-composer tradition stretching back to the traditions of troubadour and trouvère. His poetry was greatly admired and imitated by other poets, including Geoffrey Chaucer and Eustache Deschamps, well into the 15th century. Machaut composed in a wide range of styles and forms and was crucial in developing the motet and secular song forms (particularly the lai and the formes fixes: rondeau, virelai and ballade). Among his only surviving sacred works, Messe de Nostre Dame, is the earliest known complete setting of the Ordinary of the Mass attributable to a single composer. Other notable works include the rondeaux "Ma fin est mon commencement" and "Rose, liz, printemps, verdure" as well as the virelai "Douce Dame Jolie".

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

Guillaume de Machaut (French: [ɡijom də maʃo], Old French: [ɡiˈʎawmə də maˈtʃaw(θ)]; also Machau and Machault; c. 1300 – April 1377) was a French composer and poet who was the central figure of the ars nova style in late medieval music. His dominance of the genre is such that modern musicologists use his death to separate the ars nova from the subsequent ars subtilior movement. Regarded as the most significant French composer and poet of the 14th century, he is often seen as the century's leading European composer. Machaut, one of the earliest European composers on whom considerable biographical information is available, has an unprecedented amount of surviving music, in part due to his own involvement in his manuscripts' creation and preservation. Machaut embodies the culmination of the poet-composer tradition stretching back to the traditions of troubadour and trouvère. His poetry was greatly admired and imitated by other poets, including Geoffrey Chaucer and Eustache Deschamps, well into the 15th century. Machaut composed in a wide range of styles and forms and was crucial in developing the motet and secular song forms (particularly the lai and the formes fixes: rondeau, virelai and ballade). Among his only surviving sacred works, Messe de Nostre Dame, is the earliest known complete setting of the Ordinary of the Mass attributable to a single composer. Other notable works include the rondeaux "Ma fin est mon commencement" and "Rose, liz, printemps, verdure" as well as the virelai "Douce Dame Jolie".

In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term sonance has been proposed to encompass or refer indistinctly to the terms consonance and dissonance.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

Guillaume de Machaut (French: [ɡijom də maʃo], Old French: [ɡiˈʎawmə də maˈtʃaw(θ)]; also Machau and Machault; c. 1300 – April 1377) was a French composer and poet who was the central figure of the ars nova style in late medieval music. His dominance of the genre is such that modern musicologists use his death to separate the ars nova from the subsequent ars subtilior movement. Regarded as the most significant French composer and poet of the 14th century, he is often seen as the century's leading European composer. Machaut, one of the earliest European composers on whom considerable biographical information is available, has an unprecedented amount of surviving music, in part due to his own involvement in his manuscripts' creation and preservation. Machaut embodies the culmination of the poet-composer tradition stretching back to the traditions of troubadour and trouvère. His poetry was greatly admired and imitated by other poets, including Geoffrey Chaucer and Eustache Deschamps, well into the 15th century. Machaut composed in a wide range of styles and forms and was crucial in developing the motet and secular song forms (particularly the lai and the formes fixes: rondeau, virelai and ballade). Among his only surviving sacred works, Messe de Nostre Dame, is the earliest known complete setting of the Ordinary of the Mass attributable to a single composer. Other notable works include the rondeaux "Ma fin est mon commencement" and "Rose, liz, printemps, verdure" as well as the virelai "Douce Dame Jolie".

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

Messe de Nostre Dame (Mass of Our Lady) is a polyphonic mass composed before 1365 by French poet and composer Guillaume de Machaut (c. 1300–1377). Widely regarded as one of the masterpieces of medieval music and of all religious music, it is historically notable as the earliest complete setting of the Ordinary of the Mass attributable to a single composer (in contrast to earlier compilations such as the Tournai Mass).

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

Guillaume de Machaut (French: [ɡijom də maʃo], Old French: [ɡiˈʎawmə də maˈtʃaw(θ)]; also Machau and Machault; c. 1300 – April 1377) was a French composer and poet who was the central figure of the ars nova style in late medieval music. His dominance of the genre is such that modern musicologists use his death to separate the ars nova from the subsequent ars subtilior movement. Regarded as the most significant French composer and poet of the 14th century, he is often seen as the century's leading European composer. Machaut, one of the earliest European composers on whom considerable biographical information is available, has an unprecedented amount of surviving music, in part due to his own involvement in his manuscripts' creation and preservation. Machaut embodies the culmination of the poet-composer tradition stretching back to the traditions of troubadour and trouvère. His poetry was greatly admired and imitated by other poets, including Geoffrey Chaucer and Eustache Deschamps, well into the 15th century. Machaut composed in a wide range of styles and forms and was crucial in developing the motet and secular song forms (particularly the lai and the formes fixes: rondeau, virelai and ballade). Among his only surviving sacred works, Messe de Nostre Dame, is the earliest known complete setting of the Ordinary of the Mass attributable to a single composer. Other notable works include the rondeaux "Ma fin est mon commencement" and "Rose, liz, printemps, verdure" as well as the virelai "Douce Dame Jolie".

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

Ars nova (Latin for 'new art') refers to a musical style which flourished in the Kingdom of France and its surroundings during the Late Middle Ages. More particularly, it refers to the period between the preparation of the Roman de Fauvel (1310s) and the death of composer Guillaume de Machaut in 1377. The term is sometimes used more generally to refer to all European polyphonic music of the fourteenth century. For instance, the term "Italian ars nova" is sometimes used to denote the music of Francesco Landini and his compatriots, although Trecento music is the more common term for the contemporary 14th-century music in Italy. The "ars" in "ars nova" can be read as "technique", or "style". The term was first used in two musical treatises, titled Ars novae musicae (New Technique of Music) (c. 1320) by Johannes de Muris, and a collection of writings (c. 1322) attributed to Philippe de Vitry often simply called "Ars nova" today. Musicologist Johannes Wolf first applied to the term as description of an entire era (as opposed to merely specific persons) in 1904. The term ars nova is often used in juxtaposition to two other periodic terms, of which the first, ars antiqua, refers to the music of the immediately preceding age, usually extending back to take in the period of Notre Dame polyphony (from about 1170 to 1320). Roughly, then, ars antiqua refers to music of the thirteenth century, and the ars nova that of the fourteenth; many music histories use the terms in this more general sense. The period from the death of Machaut (1377) until the early fifteenth century, including the rhythmic innovations of the ars subtilior, is sometimes considered the end of, or late, ars nova but at other times an independent era in music. Other musical periods and styles have at various times been called "new art." Johannes Tinctoris used the term to describe Dunstaple; however, in modern historiographical usage, it is restricted entirely to the period described above.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single medieval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer. Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice. Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have. Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.