This article focuses on the background of the French ars nova, which includes Vitry's theory, and Machaut's isorhythmic motets. Vitry's innovation allows duple as well as triple division of the beat at three different levels. In the fourteenth century, these changes permitted rhythmic organization on the larger scale than before. Also, his technique of isorhythm, which was developed from the thirteenth-century ordines, is firmly established by Machaut. Machaut's complete works are preserved in; eight manuscripts: New York, Wildenstein Galleries, Paris, Bib. Nat.. Fonds Francais 1584, 1585, 1586, 9221, 22545-6, and 843. Among these, the Paris, Bib. Nat.. Fonds Francais 1586 is the oldest collection and Paris, Bib. Nat.. Fonds Francais 1585 is the fifteenth-century copy of New York, Wildenstein Galleries. The Paris, Bib. Nat.. Fonds Francais 22545 contains Machaut's complete compositional outputs, including twenty-three motets(ff. 102-125). In composing isorhythmic motets, Machaut employed various techniques in the unique way. Therefore, Machaut's isorhythmic motets are analysed here, especially the pattern of talea and color. Through the analysis, some mistakes occurring in Leo Schrade's edition have been revealed at the end of this article.

제1장 들어가는 말 
제2장 아르스 노바의 시대적 배경 
2.1 필립 드 비트리 
2.2 아르스 노바의 음악적 특징 
제3장 기욤 드 마쇼와 그의 작품 
3.1 동형 리듬 모테트 
3.2 레오 슈라데의 편집판의 문제점 
3.3 마쇼의 동형 리듬 모테트 목록 
제4장 맺는 말 
참고문헌 
영문초록

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