Music from the Earliest Notations to the Sixteenth Century

The undeniable fact is, however, that by the end of the century—that is, by Grocheio’s time—the motet was a ...

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That much is à la clausula, all right, but the motetus and triplum texts are both little pastourelles reminis ...

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Naive and folksy as these texts seem, they are cast in a very urbane musical construction that beli ...

And the tenor is the same tenor as in Ex. 7-4, only cast like the other parts in the trochaic firs ...

TENOR “FAMILIES” Of the three components that went into this brainy little song, the most frequently u ...

FIG. 7-6 “Instrumental motets” on In seculum tenor (Ba, fols. 63v–64). ...

EX. 7-6A “Instrumental” (textless) motets, In seculum longum EX. 7-6B In seculum breve ...

Compare the tenors. They all cut up the “In seculum” melisma into three-note ordines. The first, called In secul ...

also fixed by the mensural ligatures. All three tenors put the “In seculum” melisma through a double cursus. T ...

Fig. 7-8 (transcribed in Ex. 7-8) displays one more virtuoso act of “combining” that uses material ...

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This macaronic motet comes from the so-called Montpellier Codex (Mo), the most comprehensive and lavishly ...

FIG. 7-8 El mois de mai./De se debent bigami/KYRIE (Ba, fol. 14 v). The seventh and eighth fascicles of ...

EX. 7-8 Transcription of Fig. 7-8 ...

Aucun/Lonc tans/ANNUN(TIANTES) gives us, in its motetus and triplum, a long and lingering last look at the l ...

FIG. 7-9 On a parole/A Paris/Frese nouvele (Montpellier, Bibliothèque Inter-Universaire, Section Médecine, H ...

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FIG. 7-10 Petrus de Cruce, Aucun/Lonc tans/ANNUN, beginning (Mo, fol. 273), the first two pages of five ...