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{{short description|Medieval French composer and poet (c. 1300–1377)}}
{{redirect|Machaut|the crater|Machaut (crater)}}
{{Use dmy dates|date=October 2020}}
[[File:Machaut 1.jpg|thumb|upright=1.2|Machaut (right) receiving Nature and three of her children. From an illuminated Parisian manuscript of the 1350s]]
{{Medieval music sidebar|expanded=figures}}

'''Guillaume de Machaut''' ({{IPA|fr|ɡijom də maʃo|lang}}, {{IPA|fro|ɡiˈʎawmə də maˈtʃaw(θ)|lang}}; also '''Machau''' and '''Machault'''; {{circa|1300}} – April 1377{{refn|Machaut died in 1377, but his exact date of death is unknown.{{sfn|Leach|2014|p=18}} Many favor April 1377,<ref>{{harvnb|Earp|1995|p=49}} and later in {{harvnb|Earp|2012|p=230}}</ref>{{sfn|Arlt|2001}}{{sfn|Bowers|2004|p=18}} but some avoid a specific date all together.{{sfn|Reaney|1971|p=7}}{{sfn|Robertson|2002|pp=271–272}} Others are more cautious: the musicologist [[Elizabeth Eva Leach]] only notes that "Sometime before 9 November 1377, when prebend number forty passed to Johannes de Gibourty, Machaut died."{{sfn|Leach|2014|p=18}} Without explanation, musicologist Anthony Pryer gives 13 April 1377.{{sfn|Pryer|2011}}|group=n|name=death}}) was a French composer and poet who was the central figure of the {{lang|la|[[ars nova]]}} style in late [[medieval music]]. His dominance of the genre is such that modern [[musicologist]]s use his death to separate the {{lang|la|ars nova}} from the subsequent {{lang|la|[[ars subtilior]]}} movement.{{sfn|Leach|2011|p=100}} Regarded as the most significant French composer and poet of the 14th century,{{sfn|Earp|2011|loc="Introduction"}}{{sfn|Clark|2012|loc="Introduction"}} he is often seen as the century's leading European composer.{{sfn|Arlt|2001}}

Machaut, one of the earliest European composers on whom considerable biographical information is available, has an [[List of compositions by Guillaume de Machaut|unprecedented amount of surviving music]], in part due to his own involvement in his manuscripts' creation and preservation.{{sfn|Arlt|2001}} Machaut embodies the culmination of the poet-composer tradition stretching back to the traditions of [[troubadour]] and ''[[trouvère]].''{{sfn|Earp|2011|loc="Introduction"}} His poetry was greatly admired and imitated by other poets, including [[Geoffrey Chaucer]] and [[Eustache Deschamps]],<ref>{{cite encyclopedia |last=Günther |first=Ursula |author-link=Ursula Günther |year=2001 |encyclopedia=[[Grove Music Online]] |title=Franciscus, Magister |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.10117 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000010117 |archive-date=15 November 2020 |archive-url=https://web.archive.org/web/20201115203654/https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000010117 |url-status=live }} {{Grove Music subscription}}</ref> well into the 15th century.{{sfn|Clark|2012|loc="Introduction"}}

Machaut composed in a wide range of styles and forms and was crucial in developing the [[motet]] and secular song forms (particularly the [[Lai (poetic form)|lai]] and the ''[[formes fixes]]'': [[rondeau (forme fixe)|rondeau]], [[virelai]] and [[Ballade (forme fixe)|ballade]]). Among his only surviving [[sacred]] works, ''[[Messe de Nostre Dame]]'', is the earliest known complete [[Mass (music)|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]]".

==Life==
Guillaume de Machaut was born around 1300, one of seven children, and educated in the region around [[Reims]]. His surname most likely derives from the nearby town of [[Machault, Ardennes|Machault]], 30&nbsp;km northeast of Reims in the [[Ardennes]] region.
He was employed as secretary to [[John of Bohemia|John I]], Count of [[Luxembourg]] and King of [[Bohemia]] from 1323 to 1346, and also became a [[Canon (priest)|canon]] (1337). He often accompanied King John on his various trips, many of them military expeditions around Europe (including [[Prague]]). He was named the canon of [[Verdun]] in 1330, [[Arras]] in 1332, and Reims in 1337. In 1346, King John was killed fighting at the [[Battle of Crécy]], and Machaut, who was famous and much in demand, entered the service of various other aristocrats and rulers, including King John's daughter [[Bonne of Bohemia|Bonne]] (who died of the [[Black Death]] in 1349), her sons [[John, Duke of Berry|Jean de Berry]] and Charles (later [[Charles V of France|Charles V]], Duke of Normandy), and others such as [[Charles II of Navarre]].{{sfn|Wimsatt & Kibler|1988|p=3–4}}

Machaut survived the Black Death that devastated Europe, and spent his later years living in Reims composing and supervising the creation of his complete-works manuscripts. His poem ''Le voir dit'' (probably 1361–1365) purports to recount a late love affair with a 19-year-old girl, Péronne d'Armentières, although the accuracy of the work as autobiography is contested.<ref>{{Cite journal |last=Leech-Wilkinson |first=Daniel  |year=1993 |title=Le Voir Dit and La Messe de Nostre Dame: aspects of genre and style in late works of Machaut |journal=Plainsong and Medieval Music |volume=2 |pages=43–73 |doi=10.1017/S0961137100000413 |s2cid=161923238}}</ref>

Machaut died sometime in 1377, perhaps during April.{{refn||group=n|name=death}}

==Music==
{{see also|List of compositions by Guillaume de Machaut}}
[[File:Guillaume de Machaut, Le remède de fortune (dance), Paris, Ms. fr. 1586.jpg|thumb|An illumination in a manuscript of Machaut's poem ''Le remède de fortune'' showing an outdoors dancing scene]]
Machaut's music comprises a wide variety, from complex masses to short songs, and despite the differences of genre, most still contain "typical Machaut motifs".{{sfn|Reaney|1971|p=18}} He lived after the flowering of both the secular [[troubadour]] and ''[[trouvère]]'' song movements and the ''[[ars antiqua]]'' church style.{{citation needed|date=August 2023}} The musicologist [[Gilbert Reaney]] notes that "before [Machaut], composers either wrote songs or church music. Machaut did both, though it could be said that he neglected the area of liturgical church music."{{sfn|Reaney|1971|p=69}} Besides his mass, Hoquetus ''David'' and a few Latin motets, Machaut's surviving output is exclusively secular.{{sfn|Reaney|1971|p=18}}{{refn|Reaney notes that although some of his motets could have been for worshipping [[Mary, mother of Jesus|Mary]], they were [[courtly love|(courtly) love]] songs at their core.{{sfn|Reaney|1971|p=18}}|group=n}} Regardless, Reaney notes that his unique mastery of both secular and sacred Western music is only precedented by the work of [[Adam de la Halle]].{{sfn|Reaney|1971|p=69}}

===Secular music===
The lyrics of Machaut's works almost always dealt with [[courtly love]]. A few works exist to commemorate a particular event, such as M18, "Bone Pastor/Bone Pastor/Bone Pastor." Machaut mostly composed in five genres: the lai, the virelai, the motet, the ballade, and the rondeau. In these genres, Machaut retained the basic ''formes fixes'', but often utilized creative text setting and [[cadence (music)|cadences]]. For example, most rondeau phrases end with a long [[melisma]] on the penultimate syllable. However, a few of Machaut's rondeaux, such as R18 "Puis qu'en oubli", are mostly syllabic in treatment.

Machaut's motets often contain sacred texts in the tenor, such as in M12 "Corde mesto cantando/Helas! pour quoy virent/Libera me". The top two voices in these three-part compositions, in contrast, sing secular French texts, creating interesting concordances between the sacred and secular. In his other genres, though, he does not utilize sacred texts.

===Sacred music===
{{Listen|filename= Machaut - Missa Notre Dame - Kyrie.ogg|title=''Kyrie'' from the ''Messe de Nostre Dame''|description=By Guillaume de Machaut, midi instrumental version|format=[[Ogg]]}}

Machaut's cyclic setting of the Mass, identified in one source as the ''[[Messe de Nostre Dame]]'' (''Mass of Our Lady''), was composed in the early 1360s probably for [[Rheims Cathedral]].  While not the first cyclic mass – the [[Tournai Mass]] is earlier – it was the first by a single composer and conceived as a unit.  Machaut was probably familiar with the Tournai Mass since Machaut's Mass shares many stylistic features with it, including textless interludes.

Whether or not Machaut's mass is indeed [[cyclic mass|cyclic]] is contested; after lengthy debate, musicologists are still deeply divided. However, there is a consensus that this mass is at best a forerunner to the later 15th-century cyclic masses by the likes of [[Josquin des Prez]]. Machaut's mass differs from these in the following ways: (1) he does not hold a [[tonal centre]] throughout the entire work, as the mass uses two distinct [[musical mode|modes]] (one for the Kyrie, Gloria, and Credo, another for Sanctus, Agnus and Ite missa est); (2) there is no extended melodic [[theme (music)|theme]] that clearly runs through all the movements, and the mass does not use the [[parody mass|parody]] technique; (3) there is considerable evidence that this mass was not composed in one creative act. The fact that the movements were placed together does not mean they were conceived as such.{{sfn|Keitel|1982|loc={{Page needed|date=March 2014}}}}

Nevertheless, the mass can be said to be stylistically consistent, and certainly the chosen chants are all celebrations of Mary, the mother of Jesus. Also adding weight to the claim that the mass is cyclic is the possibility that the piece was written or assembled for performance at a specific celebration. The possibility that it was for the coronation of [[Charles V of France|Charles V]], which was once widely accepted, is thought unlikely in modern scholarship. The composer's intention that the piece be performed as one entire mass setting makes the ''Messe de Nostre Dame'' generally considered a cyclic composition.

==Poetry==
[[File:Le Dit de la Fonteinne amoureuse - Guillaume de Machaut écrivant.jpg|left|thumb|241x241px|Illumination of Machaut writing ''Le Dit de la Fonteinne Amoureuse'']]
Guillaume de Machaut's lyric output comprises around 400 poems, including 235 ballades, 76 rondeaux, 39 virelais, 24 lais, 10 ''complaintes'', and 7 ''chansons royales'', and Machaut did much to perfect and codify these fixed forms.  Some of his lyric output is embedded in his narrative poems or "dits", such as {{lang|fr|Le remède de fortune}} ("The Cure of Ill Fortune") which includes one of each genre of lyric poetry, and ''Le voir dit'' ("A True Story"), but most are included in a separate, unordered section entitled {{lang|fr|Les loanges des dames}}.  That the majority of his lyrics are not set to music (in manuscripts, music and non-music sections are separate) suggests that he normally wrote the text before setting some to music.

Other than his Latin motets of a religious nature and some poems invoking the horrors of war and captivity, the vast majority of Machaut's lyric poems reflect the conventions of [[courtly love]], and involve statements of service to a lady and the poet's pleasure and pains.  In technical terms, Machaut was a master of elaborate rhyme schemes, and this concern makes him a precursor to the [[Grands Rhétoriqueurs]] of the 15th century.

Guillaume de Machaut's narrative output is dominated by the "dit" (literally "spoken", i.e. a poem not meant to be sung).  These first-person [[narrative poems]] (all but one are written in [[octosyllabic]] [[rhymed couplet]]s, like the [[Medieval French literature#The Roman|romance, or "roman"]] of the same period) follow many of the conventions of the ''[[Roman de la rose]]'', including the use of [[allegory|allegorical]] dreams (''songes''), allegorical characters, and the situation of the narrator-lover attempting to return toward or satisfy his lady.

Machaut is also the author of a poetic chronicle of the chivalric deeds of [[Pierre I de Lusignan|Peter I of Cyprus]], (the ''Prise d'Alexandrie''), and of poetic works of consolation and moral philosophy. His unusual self-reflective usage of himself (as his lyrical persona) as the narrator of his dits yields  some personal philosophical insights as well.

At the end of his life, Machaut wrote a poetic treatise on his craft (his ''Prologue''). This reflects on his conception of the organization of poetry into set genres and rhyme schemes, and the ordering of these genres into distinct sections of manuscripts. This preoccupation with ordering his ''oeuvre'' is reflected in an index to MS A entitled "Vesci l'ordonance que G. de Machaut veut qu'il ait en son livre" ("Here is the order that G. de Machaut wants his book to have").{{sfn|Earp|1989|p=461}}

The poem below, ''Puis qu'en oubli'', is his 18th rondeau.
{{Verse translation|
{{lang|fro|Puis qu'en oubli sui de vous, dous amis,
Vie amoureuse et joie a Dieu commant.
Mar vi le jour que m'amour en vous mis,
Puis qu'en oubli sui de vous, dous amis.
Mais ce tenray que je vous ay promis,
C'est que ja mais n'aray nul autre amant.
Puis qu'en oubli sui de vous, dous amis,
Vie amoureuse et joie a Dieu commant.}}
|
Since I am forgotten by you, sweet friend,
To a love life, and to happiness, I bid goodbye.
Unlucky was the day I put my love in you,
Since I am forgotten by you, sweet friend.
Yet I will keep what I have promised you,
Which is that never will I have another lover.
Since I am forgotten by you, sweet friend,
To a love life, and to happiness, I bid goodbye.}}

===Principal works===
* ''Le remède de fortune'' ("The Cure of Ill Fortune") (c. 1340s, before 1357) – The narrator is asked by his lady whether the poem she has found is by him; the narrator flees from her and comes to a garden where "Hope" consoles him and teaches him how to be a good lover; he returns to his lady.
* ''Jugement du roy de Behaigne'' ("Judgement of the King of Bohemia") (before 1346) – The narrator hears a debate between a lady (whose lover is dead) and a knight (betrayed by his lady); in order to proclaim one or the other the most unhappy, the narrator seeks out the advice of the King of Bohemia who consults allegories, and the unhappy knight is declared the winner.
* ''Dit du Lyon'' ("Story of the Lion") (1342) – The narrator comes to a magical island and a lion guides him to a beautiful lady; an old knight comes to the narrator and reveals the meaning of what he sees and gives him advice for being a better lover.
* ''Dit de l'Alérion'' aka ''Dit des quatre oiseaux'' ("Story of the 4 Birds") (before 1349) – A symbolic tale of love: the narrator raises four different birds, but each one flees him; one day the second (and preferred) bird comes back to him.
* ''Jugement du roy de Navarre'' ("Judgement of the King of Navarre") (1349) – Following up on the ''Jugement du roy de Behainge'', a lady blames the narrator for awarding the prize to the knight: the King of Navarre is consulted and condemns the poet.
* ''Confort d'ami'' (1357) – Dedicated to [[Charles II of Navarre]] (who was a prisoner in France), this poetic consolation gives biblical and classical examples ([[exemplum|exempla]]) of fortitude.
* ''Dit de la fontaine amoureuse'' aka ''Livre de Morpheus'' ("Story of the Amorous Fountain") (1361) – The narrator meets a hopeless lover who must separate from his lady; the two men come to a magical fountain and fall asleep, and in a dream the lady consoles her lover.
* ''Le voir dit'' ("A True Story") (c. 1362–65) – Often seen as Machaut's masterpiece,<ref>{{cite news|url=https://www.nytimes.com/2013/11/18/arts/music/orlando-consort-presents-program-of-machaut.html|title=A Love Affair That Burned for Centuries, at Least in Song|last=Oestreich|first=James R.|newspaper=The New York Times|date=November 17, 2013|access-date=July 26, 2017}}</ref> this poem is an early example of [[meta-fiction]], and tells of the sadness and separation of the narrator from his lady, and of the false rumors that are spread about him.  The narrative is stuffed with prose letters and lyric poems that the narrator claims were in truth exchanged by the unhappy lovers and put in the book at the behest of his lady. The work is, however, highly satirical, and mocks the conventional paradigm of medieval courtly literature by presenting himself as an old, ill, impotent poet who becomes the lover of a young and beautiful maiden, who falls in love with him from his reputation as a poet alone. Though the work is called a ''voir dit'' or true story, Machaut includes many inconsistencies which force the reader to question the truthfulness of his story.
* ''Prologue'' (c. 1372) – written at the end of his life as a preface to his collected works, this allegory describes Machaut's principles of poetry, music and rhetoric, as imparted to him by Nature and Love.
* ''Prise d'Alexandrie'' ("[[Alexandrian Crusade|The Capture of Alexandria]]") (after 1369) – poetic retelling of the exploits of [[Peter I of Cyprus|Peter of Lusignan, King of Jerusalem and of Cyprus]].

==Legacy==
When he died in 1377, other composers such as [[F. Andrieu]] wrote elegies lamenting his death.

Machaut's poetry had a direct effect on the works of [[Eustache Deschamps]], [[Jean Froissart]], [[Christine de Pizan]], [[René d'Anjou]] and [[Geoffrey Chaucer]], among many others.{{citation needed|date=September 2023}}   There exists the hypothetical (though improbable) possibility that Chaucer and Machaut could have met when Chaucer was taken prisoner near Reims in 1359, or in [[Calais]] in 1360, with both poets on official business for the ratification of the [[Treaty of Brétigny]] (Machaut with his patron Jean de Berry, who was departing for England, and Chaucer as a messenger to [[Lionel of Antwerp, 1st Duke of Clarence|Prince Lionel]]).{{sfn|Hanly|2008|pp=153–154}}

According to food historian William Woys Weaver, fourteenth century nobles at the French-speaking [[House of Lusignan|Lusignan]] court in [[Nicosia]], [[Cyprus]], often listened to narrations of Machaut's ''Prise d’Alexandrie'' for entertainment during royal banquets. Tales like Machaut's, about heroic [[Crusades|Crusader]] figures, reinforced the self-image that Lusignan courtiers cultivated as long-distance claimants to [[Jerusalem]].<ref>{{Cite book|last=Weaver|first=William Woys|title=In the Presence of Power: Court and Performance in the Pre-Modern Middle East|publisher=NYU Press|year=2017|editor-last=Pomeranz|editor-first=Maurice A.|location=New York|pages=179–95|chapter=The Court Cuisine of Medieval Cyprus: Food as Table Theater|editor-last2=Vitz|editor-first2=Evelyn Birge}}</ref>

==Recordings==
===Selected recordings===
{| class = "wikitable sortable plainrowheaders"
|-
|+Selected recordings of compositions by Guillaume de Machaut{{sfn|Clark|2012|loc="Discography"}}
|-
! scope="col" | Year
! scope="col" | Album{{refn|Although some albums contain works by composers other than Machaut, only works by Machaut are listed.|group=n|name=Recordings}}
! scope="col" | Ensemble
! scope="col" | Director
! scope="col" | Label
|-
| 1973
| ''Chansons'' – Vol. 1
| [[Studio der Frühen Musik]] 
| data-sort-value="Binkley" | [[Thomas Binkley]]
| [[EMI]]<ref>{{cite book |title=Chansons. / Vol. 1 |publisher=[[WorldCat]] |oclc=781149063 }}</ref>
|-
| 1973
| ''Chansons'' – Vol. 2
| [[Studio der Frühen Musik]]
| data-sort-value="Binkley" | [[Thomas Binkley]]
| [[EMI]]<ref>{{cite book |title=Chansons. / Vol. 2 |publisher=[[WorldCat]] |oclc=781149082 }}</ref>
|-
| 1983
| data-sort-value="Mirror" | ''The Mirror of Narcissus''
| [[Gothic Voices]]
| data-sort-value="Page" | [[Christopher Page]]
| [[Hyperion Records|Hyperion]] CDA66087<ref>{{cite book |title=The Mirror of Narcissus: songs |publisher=[[WorldCat]] |oclc=10757687 }}</ref>{{sfn|Clark|2012|loc="Discography"}}
|-
| 1989
| ''Messe de Notre Dame''
| data-sort-value="Hilliard" | [[The Hilliard Ensemble]]
| data-sort-value="Hillier" | [[Paul Hillier]]
| [[Hyperion Records|Hyperion]]<ref>{{cite book |title=Messe de Notre Dame |publisher=[[WorldCat]] |oclc=1074350690 }}</ref>{{sfn|Clark|2012|loc="Discography"}}
|-
| 1994
| ''Remede de Fortune''
| [[Ensemble Project Ars Nova]]
| data-sort-value="Mealy" | [[Robert Mealy]]
| New Albion Records NA068CD<ref>{{cite book |title=Remede de Fortune |publisher=[[WorldCat]] |oclc=1131668230 }}</ref>{{sfn|Clark|2012|loc="Discography"}}
|-
| 1996
| ''La Messe de Nostre Dame / Le Voir Dit''
| [[Oxford Camerata]]
| data-sort-value="Summerly" | [[Jeremy Summerly]]
| [[Naxos]]<ref>{{cite book |title=La Messe de Nostre Dame.: Le Voir Dit |publisher=[[WorldCat]] |oclc=313671113 }}</ref>
|-
| 1997
| ''Dreams in the Pleasure Garden: Chansons''
| [[Orlando Consort]]
| style="text-align: center;" data-sort-value="ZZZZZ" | –
| [[Deutsche Grammophon|DG]] 477 6731<ref>{{cite book |title=Dreams in the Pleasure Garden: Chansons |publisher=[[WorldCat]] |oclc=40717514 }}</ref>{{sfn|Clark|2012|loc="Discography"}}
|-
| 2002
| ''Les motets''
| [[Ensemble Musica Nova]]
| data-sort-value="Kandel" | [[Lucien Kandel]]
| [[Harmonia Mundi]]<ref>{{cite book |title=Les motets |publisher=[[WorldCat]] |oclc=490976854 }}</ref>
|-
| 2003
| ''Guillaume de Machaut: Unrequited''
| Liber UnUsualis
| style="text-align: center;" data-sort-value="ZZZZZ" | –
| LU 1001<ref>{{cite book |title=Unrequited |publisher=[[WorldCat]] |oclc=918449957 }}</ref>{{sfn|Clark|2012|loc="Discography"}}
|-
| 2004
| ''Motets''
| data-sort-value="Hilliard" | [[The Hilliard Ensemble]]
| style="text-align: center;" data-sort-value="ZZZZZ" | –
| [[ECM Records|ECM]]<ref>{{cite book |title=Motets |publisher=[[WorldCat]] |oclc=55211214 }}</ref>{{sfn|Clark|2012|loc="Discography"}}
|-
| 2007
| ''Je, Guillaumes dessus nommez''
| Ensemble Gilles Binchois
| data-sort-value="Vellard" | [[Dominique Vellard]]
| Cantus C 9804–6{{sfn|Clark|2012|loc="Discography"}}
|-
| 2009
| ''Ballades''
| [[Ensemble Musica Nova]]
| data-sort-value="Kandel" | [[Lucien Kandel]]
| [[Outhere|Æon]] AECD 0982<ref>{{cite book |title=Ballades |publisher=[[WorldCat]] |oclc=837376789 }}</ref>
|-
| 2009
| ''Guillaume de Machaut: Messe de Nostre Dame''
| [[Diabolus in Musica (ensemble)|Diabolus in Musica]]
| data-sort-value="Guerber" | Antoine Guerber
| Alpha 132{{sfn|Clark|2012|loc="Discography"}}
|-
| 2010
| ''Messe Notre-Dame''
| [[Ensemble Musica Nova]]
| data-sort-value="Kandel" | [[Lucien Kandel]]
| [[Outhere|Æon]] AECD 1093<ref>{{cite book |title=Messe Notre-Dame |publisher=[[WorldCat]] |oclc=994860938 }}</ref>
|-
| 2011
| ''Sacred and Secular music''
| Ensemble Gilles Binchois
| data-sort-value="Vellard" | [[Dominique Vellard]]
| [[Brilliant Classics]] 94217<ref>{{cite book |title=Sacred and Secular music |publisher=[[WorldCat]] |oclc=793470624 }}</ref>
|}

===Arrangements===
{| class = "wikitable sortable plainrowheaders"
|-
|+Selected recordings of arrangements of compositions by Guillaume de Machaut
|-
! scope="col" | Year
! scope="col" | Album{{refn||group=n|name=Recordings}}
! scope="col" | Ensemble
! scope="col" | Arrangement
! scope="col" | Label
|-
| 1997
| ''[[Early Music (Lachrymæ Antiquæ)]]''
| [[Kronos Quartet]]
| [[String quartet]]
| [[Nonesuch Records|Nonesuch]] 79457<ref>{{cite book |title=Early Music: Lachrymæ Antiquæ |publisher=[[WorldCat]] |oclc=645628046 }}</ref>
|-
| 2004
| ''Ma fin est mon commencement''
| [[Louis Thiry]]
| [[Organ (music)|Organ]]
| [[Éditions Hortus]]<ref>{{cite book |title=Ma fin est mon commencement...: polyphonies des XIVe et XVe siècles: transcriptions pour orgue |publisher=[[WorldCat]] |oclc=658707030 }}</ref>
|-
| 2009
| ''[[Art of Love: Music of Machaut]]''
| [[Robert Sadin]]{{refn|Including contributions by [[Mark Feldman]], [[Hassan Hakmoun]], [[John Ellis (saxophonist)|John Ellis]], [[Lionel Loueke]], [[Brad Mehldau]] and [[Milton Nascimento]]|group=n}}
| Various
| [[Deutsche Grammophon|DG]]<ref>{{cite book |title=Art of Love: Music of Machaut |publisher=[[WorldCat]] |oclc=800661655 }}</ref>
|}

===Early recordings===
*1936 – Guillaume de Machaut. ''Messe de Notre-Dame, dite du sacre de Charles V''. Les Paraphonistes de St-Jean des Matines (choir and brass); Guillaume de Van, dir. Standard-groove recording, 2 discs: 78&nbsp;rpm, 12&nbsp;in., monaural. Anthologie sonore 31: AS 74; AS 75; AS 76; AS 77; [Paris]: L'Anthologie Sonore.
*1938 – Guillaume de Machaut. Hoquetus David. Jean Archimbaud (soprano); André Lafosse (bass trumpet); Tudesq (trombone); Guillaume de Van, dir. Standard-groove recording, 1 disc: 78&nbsp;rpm; 12&nbsp;in., monaural. Éditions de l'Oiseau-Lyre OL 3; 1059; M6-91643; 1063. M6-91647. [Paris]: Éditions de l'Oiseau-Lyre.
*1938 – Guillaume de Machaut. ''Quant Theseus'' (double ballade); ''Je puis trop bien'' (ballade); ''De tout sui si confortée'' (virelai). Henriette Guermant, soprano; La Société Pro Musica Antiqua de Bruxelles; Safford Cape, director. Standard-groove recording, 1 disc: 78&nbsp;rpm, 12&nbsp;in., monaural. (Anthologie sonore 67 (AS-140, AS-135). [France] : L'Anthologie sonore, 1938.
*1943 – Guillaume de Machaut. ''Si je soupire''; ''Douce dame jolie''; ''He! Dame de vaillance''. Pierre Deniau, tenor; instrumental accompaniment. Standard-groove recording, 1 disc, 78&nbsp;rpm,  10&nbsp;in., monaural. Lumen XC 462; XC 463; 33405; France: Lumen.
* Guillaume de Machaut. ''Rose lys''; Anon (Montpellier no. 189, 13th century). ''A la clarté''. Anon (Montpellier no. 184, 13th century). ''Hui main''. Anon (14th century). ''Amour que vous ai-je fait''. Anon (15th century). ''Trop penser''. Simone Gebelin, voice; H. Akoka, clarinet; G. Bon, flute; P. Hongne, bassoon. Standard-groove recording, 1 disc: 78&nbsp;rpm; 312&nbsp;in., monaural. BAM 44. [N.p.]: Boîte à Musique, 1948.
*1956 – Guillaume de Machaut. ''Messe de Notre Dame: dite "du Sacre de Charles V"''. Jean Archimbaud, soprano; Pierre Deniau, haute-contre, Georges Cathelat, tenor; Eugène Bousquet, baritone; Marcel Vigneron, bass; l'Ensemble Vocal er Instrumental, Roger Blanchard, dir. LP recording, 1&nbsp;disc: 33&nbsp;rpm. 10&nbsp;in., monaural. Ducretet Thomson 270C085. [Paris]: Ducretet Thomson.

==References==
===Notes===
{{Reflist|group=n|colwidth=30em}}

===Citations===
{{Reflist}}

===Sources===
;Books
{{refbegin}}
* {{cite book |last=Earp |first=Lawrence |year=1995 |title=Guillaume de Machaut: A Guide to Research |publisher=[[Taylor & Francis]] |location=Oxford |isbn=978-0-8240-2323-2 |url={{google books|plainurl=y|id=8VaBAAAAQBAJ}} }}
* {{cite book |last=Hanly |first=Michael |editor-last=Brown |editor-first=Peter |year=2008 |title=A Companion to Chaucer |chapter=France: Jean Froissart and Guillaume de Machaut |publisher=[[Wiley-Blackwell]] |location=Hoboken, New Jersey |isbn=978-0-470-69274-5 |url={{google books|plainurl=y|id=|url={{google books|plainurl=y|id=UQMzAQAAQBAJ}}}} }}
* {{cite book |last=Leach |first=Elizabeth Eva |author-link=Elizabeth Eva Leach |editor-last=Everist |editor-first=Mark |editor-link=Mark Everist |year=2011 |title=The Cambridge Companion to Medieval Music |chapter=The Fourteenth Century |publisher=[[Cambridge University Press]] |location=Cambridge |isbn=978-0-19-316303-4 }}
* {{cite book |last=Leach |first=Elizabeth Eva |author-link=Elizabeth Eva Leach |year=2014 |title=Guillaume de Machaut: Secretary, Poet, Musician |publisher=[[Cornell University Press]] |location=Ithaca, New York |isbn=978-1-5017-0486-4 |url={{google books|plainurl=y|id=AvWDDwAAQBAJ}} }}
* {{cite book |editor-last1=McGrady |editor-first1=Deborah |editor-last2=Bain |editor-first2=Jennifer |year=2012 |title=A Companion to Guillaume de Machaut |series=Brill's Companions to the Christian Tradition |volume=33 |publisher=[[Brill Publishers|Brill]] |location=Leiden |isbn=978-90-04-22819-1 |url={{google books|plainurl=y|id=UQMzAQAAQBAJ}} }}
** {{harvc |last=Earp |first=Lawrence |author-link=Lawrence Earp  |in1=McGrady |in2=Bain |year=2012 |chapter=Declamation as Expression in Machaut’s Music |pages=209–238 }}
* {{cite book |last=Reaney |first=Gilbert |author-link=Gilbert Reaney |year=1971 |title=Guillaume de Machaut |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-315218-2 }}
* {{cite book |last=Robertson |first=Anne Walters |year=2002 |title=Guillaume de Machaut and Reims: Context and Meaning in His Musical Works |publisher=[[Cambridge University Press]] |location=Cambridge, England |isbn=978-0-521-41876-8 |url={{google books|plainurl=y|id=fPJvGncNQNsC}} }}
* {{wikicite|ref={{harvid|Wimsatt & Kibler|1988}}|reference=Wimsatt, James, and Kibler, Williams (eds.). ''Machaut: Le Jugement du roy de Behaingne and Remède de Fortune'' (Athens: University of Georgia Press, 1988).}}
{{Refend}}

;Articles
{{refbegin}}
* {{cite encyclopedia |author=Arlt, Wulf |author-link=:de:Wulf Arlt |year=2001 |encyclopedia=[[Grove Music Online]] |title=Machaut [Machau, Machault], Guillaume de |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/gmo/9781561592630.article.51865 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051865 |ref={{sfnRef|Arlt|2001}}}} {{Grove Music subscription}}
* {{cite journal |last=Bowers |first=Roger |year=2004 |title=Guillaume de Machaut and His Canonry of Reims, 1338-1377 |journal=Early Music History |publisher=[[Cambridge University Press]] |volume=23 |pages=1–48 |doi=10.1017/S0261127904000038 |jstor=3874765 |s2cid=190702009}}
* {{cite encyclopedia |last=Clark |first=Alice V. |year=2012 |encyclopedia=[[Oxford Bibliographies Online|Oxford Bibliographies]]: Medieval Studies |title=Guillaume de Machaut |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/OBO/9780195396584-0049 |url=https://www.oxfordbibliographies.com/view/document/obo-9780195396584/obo-9780195396584-0049.xml |url-access=subscription}} {{subscription required}}
* {{cite journal |last=Earp |first=Lawrence |author-link=Lawrence Earp |year=1989 |title=Machaut's Role in the Production of Manuscripts of His Works |journal=[[Journal of the American Musicological Society]] |volume=42 |issue=3 |pages=461–503 |doi=10.2307/831503 |jstor=831503}}
* {{cite encyclopedia |last=Earp |first=Lawrence |author-link=Lawrence Earp |year=2011 |encyclopedia=[[Oxford Bibliographies Online|Oxford Bibliographies]]: Music |title=Guillaume de Machaut |publisher=[[Oxford University Press]] |location=Oxford |doi=10.1093/OBO/9780199757824-0030 |url=https://www.oxfordbibliographies.com/view/document/obo-9780199757824/obo-9780199757824-0030.xml |url-access=subscription}} {{subscription required}}
* {{cite journal |last=Keitel |first=Elizabeth A. |year=1982 |title=The So-Called Cyclic Mass of Guillaume de Machaut: New Evidence for an Old Debate |journal=[[The Musical Quarterly]] |publisher=[[Oxford University Press]] |location=Oxford |volume=68 |issue=3 |pages=307–323 |doi=10.1093/mq/LXVIII.3.307 |jstor=742003}}
* {{cite encyclopedia |last=Pryer |first=Anthony |editor-last=Latham |editor-first=Alison |year=2011 |title=Binchois [Gilles de Bins] |encyclopedia=[[The Oxford Companion to Music]] |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-957903-7 |url=https://www.oxfordreference.com/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e-803 |url-access=subscription}}
{{Refend}}

==Further reading==
See {{harvnb|Clark|2012}} and {{harvnb|Earp|2011}} for extensive bibliographies
{{refbegin}}
* {{cite book |editor-last1=Abraham |editor-first1=Gerald |editor-link=Gerald Abraham |editor-last2=Hughes |editor-first2=Dom Anselm |year=1960 |title=Ars Nova and the Renaissance 1300-1540 |series=The New Oxford History of Music |volume=III |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-316303-4}}
* {{cite book |editor-last1=Cerquiglini-Toulet |editor-first1=Jacqueline |editor-link1=:fr:Jacqueline Cerquiglini-Toulet |editor-last2=Wilkins |editor-first2=Nigel |editor-link2=:fr:Nigel Wilkins |year=2002 |title=Guillaume de Machaut, 1300-2000 |series=Collection Musiques/Écritures: Série Études |publisher=[[:fr:Presses de l'université Paris-Sorbonne|Presses de l'université Paris-Sorbonne]] |location=Paris |isbn=978-2-84050-217-3}}
* {{cite journal |editor-last1=Cosman |editor-first1=Madeleine Pelner |editor-link=Madeleine Cosman |editor-last2=Chandler |editor-first2=Bruce |year=1978 |title=Machaut's World: Science and Art in the Fourteenth Century |journal=Annals of the New York Academy of Sciences |volume=314 |publisher=[[New York Academy of Sciences]] |location=New York |isbn=978-0-89072-072-1}}
* {{cite book |last1=Gleason |first1=Harold |author-link=Harold Gleason |last2=Becker |first2=Warren |year=1981 |title=Music in the Middle Ages and Renaissance |series=Music Literature Outlines |edition=3rd |publisher=Frangipani Press |isbn=978-0-88284-379-7 |url={{google books|plainurl=y|id=EY87ImIUFOAC}}}}
* {{cite book |last=Hoppin |first=Richard |author-link=Richard Hoppin |year=1978 |title=Medieval Music |series=The Norton Introduction to Music History |edition=1st |publisher=[[W. W. Norton & Company]] |location=New York, New York |isbn=978-0-393-09090-1}}
* {{cite book |last=Leach |first=Elizabeth Eva |author-link=Elizabeth Eva Leach |year=2003 |title=Machaut's Music: New Interpretations |publisher=[[Boydell Press]] |location=Suffolk, England |isbn=978-1-84383-016-0 |url={{google books|plainurl=y|id=1TDdtAUOvpYC}}}}
* {{cite journal |last=Leach |first=Elizabeth Eva |author-link=Elizabeth Eva Leach |date=February 2010 |title=Guillaume de Machaut, royal almoner: Honte, paour (B25) and Donnez, signeurs (B26) in context |journal=[[Early Music (journal)|Early Music]] |volume=38 |issue=1 |pages=21–42 |doi=10.1093/em/caq006 |jstor=40731308}}
* {{cite journal |last=Leach |first=Elizabeth Eva |author-link=Elizabeth Eva Leach |date=July 2010 |title=Music and Verbal Meaning: Machaut's Polytextual Songs |journal=[[Speculum (journal)|Speculum]] |volume=85 |issue=3 |pages=567–591 |doi=10.1017/S0038713410001302 |jstor=27866936 |s2cid=162617845}}
* {{cite book |last=Leech-Wilkinson |first=Daniel |author-link=Daniel Leech-Wilkinson |year=1992 |title=Machaut's Mass: An Introduction |series=The Norton Introduction to Music History |edition=1st |publisher=[[Clarendon Press]] ([[Oxford University Press]]) |location=Oxford |isbn=978-0-19-816306-0}}
* {{cite book |last=Kelly |first=Douglas |year=2014 |title=Machaut and the Medieval Apprenticeship Tradition: Truth, Fiction and Poetic Craft |publisher=[[D.S. Brewer]] ([[Oxford University Press]]) |location=Suffolk, England |isbn=978-1-84384-372-6 |url={{google books|plainurl=y|id=Hs_CAwAAQBAJ}}}}
* {{cite journal |last=Reaney |first=Gilbert |year=1952 |title=A Chronology of the Ballades, Rondeaux and Virelais Set to Music by Guillaume de Machaut |journal=[[Musica Disciplina]] |publisher=[[American Institute of Musicology]] Verlag Corpusmusicae, GmbH |volume=6 |issue=1/3 |pages=33–38 |jstor=20531841}}
* {{cite journal |last=Reaney |first=Gilbert |year=1953 |title=Fourteenth Century Harmony and the Ballades, Rondeaux and Virelais of Guillaume de Machaut |journal=[[Musica Disciplina]] |publisher=[[American Institute of Musicology]] Verlag Corpusmusicae, GmbH |volume=7 |pages=129–146 |jstor=20531864}}
* {{cite journal |last=Reaney |first=Gilbert |author-link=Gilbert Reaney |year=1954 |title=The Manuscript Chantilly, Musée Condé 1047 |journal=Musica Disciplina |volume=8 |pages=59–113 |jstor=20531876}}
* {{cite journal |last=Reaney |first=Gilbert |author-link=Gilbert Reaney |year=1955 |title=The Ballades, Rondeaux and Virelais of Guillaume de Machaut: Melody, Rhythm and Form |journal=Acta Musicologica |volume=27 |issue=1/2 |pages=40–58 |jstor=931552 |doi=10.2307/931552}}
* {{cite journal |last=Reaney |first=Gilbert |year=1959 |title=The Poetic Form of Machaut's Musical Works: I: The Ballades, Rondeaux and Virelais |journal=[[Musica Disciplina]] |publisher=[[American Institute of Musicology]] Verlag Corpusmusicae, GmbH |volume=13 |pages=25–41 |jstor=20531910}}
* {{cite book |last=Saltzstein |first=Jennifer |year=2023 |title=Song, Landscape, and Identity in Medieval Northern France: Toward an Environmental History |publisher=[[Oxford University Press]] |location=Oxford, England |isbn=9780197547786 |url=https://global.oup.com/academic/product/song-landscape-and-identity-in-medieval-northern-france-9780197547786?q=saltzstein&lang=en&cc=us}}
* {{cite book |last=Upton |first=Elizabeth Randell |year=2013 |title=Music and Performance in the Later Middle Ages |publisher=[[Palgrave Macmillan]] |location=London, England |isbn=978-1-137-27770-1 |url={{google books|plainurl=y|id=pwcGbJ7UIwcC}}}}{{Dead link|date=June 2024|bot=InternetArchiveBot|fix-attempted=yes}}
* {{cite journal |last=Günther |first=Ursula |author-link=Ursula Günther |year=1963 |title=Chronologie und Stil der Kompositionen Guillaume de Machauts |journal=[[Acta Musicologica]] |publisher=[[International Musicological Society]] |language=de |volume=35 |issue=2/3 |pages=96–114 |doi=10.2307/931499 |jstor=931499}}
* {{cite book |last=Yudkin |first=Jeremy |year=1989 |title=Music in Medieval Europe |edition=1st |publisher=[[Prentice Hall]] |location=Upper Saddle River, New Jersey |isbn=978-0-13-608192-0}}
* {{cite book |last=Zayaruznaya |first=Anna |year=2015 |title=The Monstrous New Art: Divided Forms in the Late Medieval Motet |publisher=[[Cambridge University Press]] |location=Cambridge, England |isbn=978-1-107-03966-7 |url={{google books|plainurl=y|id=COJwBwAAQBAJ}}}}
{{refend}}

==External links==
{{Library resources box |by=yes |onlinebooks=yes |others=yes |about=yes |label=Guillaume de Machaut }}

* {{DIAMM|pid=2743|pname=Guillaume de Machaut}}
* {{MMDB|pid=COM003.htm|pname=Guillaume de Machaut}}
* {{IMSLP|id=Machaut, Guillaume de|cname=Guillame de Machaut}}
* {{ChoralWiki}}
* Listen to [http://www.acc.umu.se/~akadkor/early/IID_Machaut_Guillaume_de.html free recordings of songs] from ([http://www.acc.umu.se/~akadkor/indexENG.html Umeå Akademiska Kör]).
* {{Internet Archive author |sname=Guillaume de Machaut}}
* [http://www.medieval.org/emfaq/composers/machaut.html Guillaume de Machaut FAQ and discography]

{{Guillaume de Machaut|state=open}}
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{{DEFAULTSORT:Machaut, Guillaume de}}
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