Balaam motet and, 401
church plays and, 52 , 93
cyclic Mass Ordinary organization and, 461
to Easter Introit, 51 –52
English votive antiphons and, 517 , 518
expectations of, 64 –65
Gloria, 80
regular features of, 81troubadours, 107 –16, 120 , 139 , 142 , 144 , 352
courtly love and, 98 –99, 108 –9, 128 , 351 , 367
duration of art of, 116 , 142
genres of, 107 , 110 –15, 121 , 224 , 290 , 349 , 397 , 501
high (Latinate) style of, 110 –13, 114 , 131
influence of, 128 –42, 351
instrumentalists and, 131
last of, 116
Latinate style of, 110 –13, 298
as Machaut antecedents, 290
madrigalists compared with, 352 –54
metrical rhythmic performance and, 114 –15
minstrel performers and, 109 –10
in northern Italian courts, 116 , 133 –34, 351
secular repertory of, 107
sestina and, 352
as trecento influence, 351 , 352 , 383
trobar clus and, 115 –16, 120 , 228 , 236 , 326
trouvère successors, 116 –26, 208
as vernacular poets, 107 , 351 , 459
women as, 110
writen documentation of, 109 –10, 353trouvères, 116 –26, 142
Eleanor of Aquitaine descendants and, 117 , 118
Grocheio’s social theory and, 208
influence of, 128 , 134 –35, 139 , 142
as Machaut antecedents, 270 –73, 290
motet and, 218 –19, 218 , 220 , 221 , 224 –26, 233 , 236 , 238
popularization and, 120 –26, 136 , 142 , 219 , 290 –91