References

1. Biologicheskiy entsiklopedicheskiy slovar’ [Biological Encyclopedic Dictionary], ed. by M. S. Gilyarov, A. A. Baev, V. G. Vinberg, G. A. Zavarzin and others, Moscow : Sovetskaya entsiklopediya, 1986. (In Russ.)
2. Dvoretskiy, I. Kh. Latinsko-russkiy slovar’ [Latin-Russian Dictionary], 12th ed., Moscow : Russkiy yazyk  — Media; Drofa, 2009. (In Russ.)
3. Evdokimova, Yu. K. Istoriya Polifonii [History of Polyphony], issue 1: Mnogogolosiye Srednevekov’ya. X–XIV veka [Polyphony of the Middle Ages. 10th–14th Cen­turies], Moscow : Muzyka, 1983. (In Russ.)
4. Pospelova, R. L. Traktaty o muzyke Ioanna Tinktorisa s prilozheniem polnogo russkogo perevoda onykh [Trea­tises on Music by John Tinctoris with the Appen­dix of a Complete Russian Translation Thereof], Mos­cow : Moskovskaya gos. konservatoriya im. P. I. Chay­kovskogo, 2009. (In Russ.)
5. Apel, W. “Remarks about the Isorhythmic Motet,” Les colloques de Wégimont II: L’Ars nova: Recueil d’etudes sur la musique du XIVe siècle, ed. by S. Clercx-Lejeune and P. Collaer, Bibliothèque de la Faculté de Philosophie et Lettres de l’Université de Liège, issue CXLIX, Paris : Les Belles Lettres, 1959, pp. 139–148.
6. Ars cantus mensurabilis mensurata per modos iuris / The Art of Mensurable Song Measured by the Modes of Law, ed. and trans. by C. M. Balensuela, Greek and Latin Music Theory, vol. 10, Lincoln : London : University of Nebraska Press, 1994.
7. “Ars practica mensurabilis cantus secundum Iohan­nem de Muris.” Ars practica mensurabilis cantus secundum Iohannem de Muris: Die Recensio maior des sogenannten “Libellus practice cantus mensurabilis,” ed. by Ch. Berktold, Bayerische Akademie der Wissen­schaften, Veröffentlichungen der Musik­his­torischen Kommission, vol. 14, Munich : C. H. Beck, 1999, pp. 3–79.
8. Bent, M. “The Myth of tempus perfectum dimi­nu­tum in the Chantilly Manuscript.” A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliothèque du Château de Chan­tilly, 564), ed. by Y. Plumley, A. Stone, Turnhout : Bre­pols, 2009, pp. 203–227, doi:10.1484/M.EM-EB.3.2667.
9. Bent, M. “What is isorhythm?” Quomodo canta­bimus canticum? Studies in honor of Edward H. Roes­ner, ed. by D. B. Cannata, G. I. Currie, R. Ch. Muel­ler, and J. Nádas, Miscellanea, vol. 7, Middleton, Wis. : American Institute of Musicology, 2008, pp. 121–143.
10. Besseler, H. “Studien zur Musik des Mittelalters. II. Die Motette von Franko von Köln bis Philipp von Vitry.” Archiv für Musikwissenschaft, vol. 8, no. 2, 1927, pp. 137–258.
11. Clark, A. V. “Tracing the tenor in medieval motets.” A Critical Companion to Medieval Motets, ed. by J. C. Hartt, Studies in Medieval and Renaissance Music, vol. 17, Woodbridge : The Boydell Press, 2018, pp. 61–76, doi:10.1515/9781787442542-011.
12. Cook, K. M. Music Theory in Late Medieval Avignon: Magister Johannes Pipardi, New York ; London : Routledge, 2021.
13. Günther, U. “The 14th-century motet and its deve­lopment.” Musica Disciplina, vol. 12, 1958, pp. 27–58.
14. Handbuch der Musikgeschichte, ed. by G. Adler, Ber­lin : Max Hessen, 1930.
15. Handbuch der Musikgeschichte, ed. by G. Adler, Frankfurt am Main : Frankfurter Verlags-Anstalt, 1924.
16. Johannes Boen. Ars (Musicae), ed. by F. A. Gallo, Corpus scriptorum de musica, vol. 19, [Rome] : American Institute of Musicology, 1972.
17. Johannes de Garlandia De mensurabili musica: Kri­tische Edition mit Kommentar und Interpretation der Notationslehre, ed. by E. Reimer, in 2 vols., vol. 1: Quellenuntersuchungen und Edition, Beihefte zum Archiv für Musikwissenschaft, vol. 10, Wiesbaden : Franz Steiner, 1972.
18. Koch, K. Ch. Musikalisches Lexikon <…>, Frankfurt am Main : August Hermann, 1802.
19. Leech-Wilkinson, D. Compositional Techniques in the Four-Part Isorhythmic Motets of Philippe de Vitry and His Contemporaries, in 2 vols., vol. I, Outstan­ding dissertations in music from British univer­si­ties, New York ; London : Garland, 1989.
20. Ludwig, F. “Geschichte der Mensuralnotation von 1250–1460. Nach den theoretischen und prak­tischen Quellen bearbeitet von Johannes Wolf.” Sammelbände der Internationalen Musikgesellschaft, vol. 6, no. 4, pp. 597–641.
21. Ludwig, F. Repertorium organorum recentioris et motetorum vetustissimi stili, vol. I: Catalogue raisonné der Quellen, part II: Handschriften in Mensural­notation: die Quellen der Motetten ältesten Stils, ed. by F. Gennrich, Summa Musicae Medii Aevi, vol. 7, Frankfurt : Langen, 1961.
22. Ludwig, F. “Studien über die Geschichte der mehr­stimmigen Musik im Mittelalter. II. Die 50 Bei­spiele Coussemaker’s aus der Handschrift von Montpellier.” Sammelbände der Internationalen Musik­gesellschaft, vol. 5, no. 2, 1904, pp. 177–224.
23. Prosdocimus de Beldemandis. “Expositiones trac­tatus pratice cantus mensurabilis magistri Johan­nis de Muris,” ed. by F. A. Gallo. Prosdocimi de Bel­demandis Opera, vol. 1, Antiquae musicae Italicae scriptores, vol. 3, Bologna : Università degli Studi de Bologna, Istituto di Studi Musicali e Teatrali — Sez. Musicologia, 1966, pp. 19–223.
24. Prosdocimus de Beldemandis. “Tractatus practice de musica mensurabili ad modum italicorum.” Scrip­torum de musica medii aevi nova series a Gerbertina altera, vol. III, ed. E. de Coussemaker, Paris : Durand, 1869, pp. 228–248.
25. Schmitz-Gropengeißer, F. “Color, talea.” Hand­wör­ter­buch der musikalischen Terminologie, vol. II: Clav–E, ed. by H. H. Eggebrecht und A. Riethmüller, Stuttgart : Franz Steiner, 2003, pp. 1–11.
26. The Berkley Manuscript: University of California, Music Library, MS. 744 (olim Phillipps 4450), ed. by O. B. Ellsworth, Lincoln : University of Nebraska Press, 1984.
27. Ugolino Urbevetanis. “Declaratio musicae discip­linae, liber tertius,” Ugolini Urbevetanis Declaratio musicae disciplinae, ed. by A. Seay, Corpus scriptorum de musica, vol. 7/2, Rome : American Institute of Musicology, 1960, pp. 167–266.
28. Zayaruznaya, A. Upper-Voice Structures and Com­po­sitional Process in the Ars Nova Motet, RMA Mono­graphs, vol. 32, New York ; London : Routledge, 2018.