Anna Zayaruznaya received her Ph.D. in historical musicology from Harvard University in 2010. She taught at New York University (2010–2011) and Princeton University (2011–2013) before coming to Yale in 2013. Bringing the history of musical forms and notation into dialogue with medieval literature, iconography, and the history of ideas, Zayaruznaya’s recent papers and publications have focused on French and northern Italian music of the fourteenth and fifteenth centuries. Her first book explores the role of monstrous and hybrid exempla in the musical aesthetics of fourteenth-century French motets; The Monstrous New Art: Form and Idea in the Late Medieval Motet is scheduled to come out in 2014 with Cambridge University Press. A second book will focus on poet, composer, and public intellectual Philippe de Vitry (1291–1361).
Zayaruznaya has published articles and reviews in the Journal of the American Musicological Society, the Journal of Musicology,Early Music History, and Speculum, and serves on advisory and editorial boards for the Journal of Musicology and Music Theory Spectrum. In 2011 she was awarded the Van Courtlandt Elliott Prize from the Medieval Academy of America for her article “She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets” (Early Music History, 2009). Zayaruznaya has also received awards and fellowships from the American Musicological Society, the Institute of Advanced Study at Princeton University, and the Radcliffe Institute of Advanced Studies at Harvard University, where she will spend the academic year 2013–14 as a fellow.
“The Chanson Mass as Analogy,” in The Cambridge History of Fifteenth-Century Music, ed. Anna Maria Busse Berger and Jesse Rodin (forthcoming from Cambridge University Press).
“Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music,” Journal of Musicology 30 (October 2013).
“What Fortune Can Do to a Minim,” Journal of the American Musicological Society 65 (2012): 313–81.
“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).
”‘She has a Wheel that Turns…’: Crossed and Contradictory Voices in Machaut’s Motets,” Early Music History 28 (2009): 185–240.