Anna Zayaruznaya is interested in the relationship between music and its texts in the fourteenth and fifteenth centuries. Her research brings the history of musical form and notation into dialogue with medieval literary theory, the history of ideas, and iconographic and codicological trends. Recent papers and publications have focused on the motets of Guillaume de Machaut and Philippe de Vitry, Milanese chant, Isorhythm, and musical resonances in the poetry of John Gower and Jean Molinet. Currently she is working on a book that explores the roles played by the monstrous and hybrid in fourteenth-century musical aesthetics.
Zayaruznaya was awarded the 2011 Van Courtlandt Elliott Prize from the Medieval Academy of America for her recent article, “She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets.” She has also received awards and fellowships from the American Musicological Society and Harvard University.
Before joining the Princeton faculty in 2011, Zayaruznaya taught at Harvard University, UC Merced, and New York University. Past and current courses include “Renaissance music”; “From Manuscript to MP3: Topics in Music and Technology”; “Singing from Medieval and Renaissance Notation”; “‘Sens, Rhétorique & Musique’: Music and Meaning in the Works of Guillaume de Machaut.”
“‘She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets,” Early Music History 28 (2009): 185–240.
“In Defense of Green Lines, or The Notation of B-flat in Early Ambrosian Antiphoners,” Ambrosiana at Harvard: New Sources of Milanese Chant , ed. Thomas Forrest Kelly and Matthew Mugmon, Houghton Library Studies 3, 33–56 (Harvard University Press, 2010).