sacred and profane, monophonic and polyphonic, chant, old and new music. Some of these pieces are thought to have been composed by Philippe de Vitry. While these pieces were once thought of as arbitrarily selected repertory for textual "accompaniment", recent scholarship (such as "Fauvel Studies" and Dillon's "Music-Making") has tended to focus on the ingenious intertextual/glossing role(s) played by musical notation – both visual and aural – in augmenting and diversifying the (political) themes of Gervais' admonitio. Amongst other curious discoveries are the inclusion of numerous "false" chants (Rankin) interspersed between actual liturgical material, perhaps a direct musical play on the deceptive qualities of its equine trickster. Much attention has also been paid to fr. 146's numerous polyphonic motets, some of which (In Nova Fert, for example) exhibit red notation of newer mensural notational innovations generally described under the umbrella of ars nova. Although the text of the Roman de Fauvel is not particularly well known, the music has been frequently performed and recorded. The question of how the entire work would have been read or staged in the 14th century is the subject of academic debate. Some have suggested that BN fr. 146 could have been intended as a theatrical performance. This hypothesis contradicts the concurrent opinion that the Roman de Fauvel is mainly an anthology. Modern performance projects, live and recorded, based on the BN 146 manuscript of the "Roman de Fauvel," involving text, music, and at times staging or semi-staging, have been created by the Studio der Fruehen Musik, the Clemencic Consort, and The Boston Camerata, among others. Camerata's version has toured extensively in the U.S. and Europe, and was last seen at the 2011 Boston Early Music Festival. Discography The first recording of the work was made in 1972 by the Studio der Frühen Musik (Studio of Early Music) on the EMI Reflexe label, directed by Thomas Binkley. This recording is currently available as part of a 5-CD box set on the Virgin label. The speaker of the verses uses the original old French, including some now very odd-sounding pronunciations of still familiar French words. It has been suggested that the musical interludes have some, especially for that time, poignantly dissonances and counterpoints, which likely serve to illustrate the mocking nature of the whole story. The musical style of the polyphonies, nonetheless, is characteristic of the period in general. The recording of the Roman de Fauvel