This two-part dissertation is a study of symbolism in music of the late Middle Ages. Using a variety of approaches to both monophonic and polyphonic repertory, this examination seeks to reveal various emblems found in the music honoring two particular saints of the canon—John the Baptist (the Precursor of Jesus) and St. Anne (the legendary mother of Mary). While they have distinct profiles and reception histories, the two saints are brought together in this study because of their special kinship with Christ. Through the examination of texts set to music, as well as musical devices such as the cantus firmus, the dissertation demonstrates a wide range of potential uses for these important saints found in musical artifacts, which were infused with theological, ritualistic, practical, and, sometimes, deeply personal meaning heretofore unrecognized in the musicological literature.

Part One of the study centers on late medieval music for John the Baptist, beginning with an analysis of the early motets underpinned by the tenors IOHANNE and MULIERUM (Chapter 3). Several of these motets subtly reference the peculiar rituals of Midsummer Day that survived on the nativity feast of John. Chapter 4 unveils the depiction of the Baptist through various canonic constructions, which demonstrate, in a musical way, the unique leader-follower relationship between the Precursor saint and Christ. Part Two of this study features an examination of the versified offices for St. Anne (Chapter 6), as well as select cases of polyphony (Chapter 7) that emphasize the importance of St. Anne as a special protectress of mothers. Together, these two relatives of Christ underscore the medieval penchant for reinforcing and expanding sanctoral legends in cultural works, while also reflecting the growing interest in the human aspects of Christ, best seen in the extraordinary members of his extended family.