Abstract
IF PHILIPPE DE VITRY WAS VIEWED with enormous reverence during his lifetime and beyond for his multiple talents and his innovative role in the stylistic adventures of 14th-century French music, Johannes de Muris was his peer. The latter's reputation was of perhaps greater durability, because it rested on a body of theoretical writings far more substantial and distinguished than Philippe's. In our day the situation is different. Philippe de Vitry's personality and works have received a great deal of attention, while with one notable exception the interest in de Muris scarcely goes beyond the conventional coupling of his name with de Vitry's, as a founder of the Ars nova. In one area at least, that of bibliography, such lack of interest cannot be ascribed to lack of data. The number of preserved writings is, in fact, very large and relatively accessible.' On the other hand, no more than one musical composition can be attributed to de Muris, and, even then, with some hesitation.2
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