the above styles were inserted into choral performances of otherwise mono-phonic chant,
taking the place of those lines assigned to the soloist.
By the 13th century, this had given rise to special two-, three-, and four-part settings
of liturgical items, and the composition of independent sacred compositions called
motets, for performance by soloists during services on special occasions. Most of the
sacred polyphony remained the domain of soloists until early in the 15th century, when it
was sung by small choruses (six to twelve singers) that developed in some of the larger
French churches, such as the cathedral at Cambrai and Notre-Dame in Paris.
Yet another practice that appears to have been carried into the Middle Ages from
antiquity was alternatim performance: an alternation between two choirs for performance
of repetitive items, such as sequences and psalms. This
A joglaresse dancing and playing
bells, early 12th century. BN lat. 1118.
Courtesy of the Bibliothèque
Nationale, Paris.
performance concept was quickly adapted to include polyphony; at times, it took the all-
vocal form of an alternation between polyphonic and monophonic sections, but it could
also include sections performed on organ, alternating with either monophonic or
polyphonic vocal sections. At such times, the organist might perform rapid treble
variations built on the chant.
Medieval france: an encyclopedia 1232