Transcription is hard. Complicated or unfamiliar music makes it harder. In his book on music editing, James Grier reminds us that the edited or transcribed musical text is “not so much a tool, leading to higher ends, as an active, critical participant in those ends, fostering further critical study and the ultimate goal, one hopes, of all types of musical endeavour, the animation of the music in performance.”1 These are high stakes, especially when the pieces at hand are motets from the end of the medieval era, written in mensural notation. The website Measuring Polyphony uses the most recent technology in digital transcription to “animate” upward of sixty of these motets as found...

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