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,McGILL UNlVEBSlT! ,1
f • ,., INDBPENDENCE OF VOl CE , TREATMENT ... IN -TB! TBlllTEENTH-CENTURY MONTPELLIER )l)T!T - "
A DISSERTATION SUBMITTED TO " THE FACULTY OF GRADUATE STUDIES IN Cl\m)IDACY FOR THE DEGREE OF / MASTER OF ARTS {)
DEPARTMENT OF MUSIC TBEORY
.- BY
EARLtmE' E. StrrrON ..
, ( . MONT~t QUEBEC ,(S) AUGUST 1982 ~ " " ,-,
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ABSTRAcT
This thes1S explores thirteenth-centl1ry Montpellier motets in terms
'of the assimilation or diversification of their voices, in order to put
into perspective the disparate voices of Machaut's 'Ars nova, isorhythmic
motets. 'The earliest thirteenth-ckntury motets in, Montpellier are o f distinguished from the latest thirteenth-century~ones on non-stylistic
gJlounds: precise' concordances between Montpellier and earlier manuscripts, " the death 'of Perotin, the copying of 1;' and W ' the death of Petrus de Cruce Z and Jehannot de l'Escurel, multiple, syllabicated semibreves in the tripla
alobe, and Franconian notation. Thirteen, two-voi~ed, French-texted
~tets, representative of the earliest thirteenth-century motets in
, Montpellier .n:e analyzed and compared in harmonic. linear,• .and rhythmic
terms with seven, three-voiced motets selected as representative of the
latest thirteenth-century motets in M?ntpellier. The analysis dis closes
1 .) , a styilstic progression in independence qf the motet voices through the.
thirteenth centur~', and hence, a model for Machaut's dialectical , 1 intricacies of the fourteenth century. " , 1 ) ,
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, RESUME "
Cette thèse ~tudie des motets du treizième siècle
MOntpellier, des points de vue de l'assimilation ication
de leur voix, de façon à mettre en per'spective les voix dispar'at
motets isorythmiques de l'Ars nova' de Machaut. Les premiers ma du
treizième siècle de Montpellier sot;lt différenciés de ceux ,de la fin de
ce siècle d'après des critères non stylistiques: des con~orda ces précises
entre Montpellier et des manuscrits antérieurs, la mort de Per, tin, les If copies de F et de W2' la mort de Petrus de Cruce è,t de Jehannot de l'Escurel, de multiples semibrèves syllabiques dans la mesure ternaire
seule, et la notation franconienne. ~eize motets à texte français, à
deux voix, représentatifs des motets du dé~ut du treizième siècle sont
analysés et comparés en termes ha~oniques, linéaires et rythmiques, avec
sept motets il trois voix, choisis comme représentatifs des derniers motets
du treizième siècle à ~ntpellier. L'analyse démontre une progressio~
stylistique de l'indépendence des voix du motet tout au long du treizième
~iècle et au delà, la création d'un modèle pour les complexités
dialéctiques de Machaut au ,quatorzième siècle .
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CONTENTS " • 1 " .
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INTRODUCTION 1 -1- ..... l
1 II CHRONOLOGY AND SELECTION OF TYPICAL EARLY AND LATE THtRTEENTH-CENTURY MONTPELLIER MOTETS 8
Early Montpellier Motets 8
Late MOntpellier Motets 17
,Chronology and Concordances of Montpellier Motets. 1 22
III STYLISTIC ANALYSIS OF TYPICAL EARLY AND LATE 'THIRTEENTH-CENTURY MONTPELLIER MOTETS 37 Harmonie ,Treatment 37
On-beat dissonances and consonances 38
Off-Beat dissonances • 40 Cadences 41 , , Linear Treatment ( • 41 'l' Cadences • 41
Consecutive perfect interva1s' 0{ • • 43
Voice-crossing , • 43 1-, ..,1- ''Polylinguality'' • 44 ,( Leaps ." · • 45 Phrasing 1 • 46
Mélodically established forma 51 o ,;'
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() " Textual" Treatment
Early coordination of rhyme schemes and formaI segments
Late asymmetry of recurrent rhymes and musical repeats ., .' Rhythmic Treatment
Early modal cortsistency, isoperiodicitYt and non-conincidence of color and talea
Late rhythmic indepence of tenor, motetus, and triplum
IV CONCLUSIONS
! , APPENDIX , . Harmonie, Linear, and Rhythmic Aspec es of Early ànd Late Montpellier MOtets
BIBLIOGRAPHY
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"The Continental motet eharaeteristically 1 forges unitY out of antinomi~ components. Il
The Montpellier Codex (Montpellier, Faculté de Médecine MS H 196) 1e
1 the largest extant manuseript of medieval motets containing 345 works l,
representing French polyphonie music from the twe1fth-century, Notre Dame ..
clausula period up to and i~c1uding the ineeption of the Ars nova in the
ear1y years of the fourteenth century. lt embraces a multitude of musical
styles ranging from the conductus motet to the motets with secular tenors . 2 and is therefore an inva1uab1e compendium of the "early Gothie motet."
~ Is it possible to 1s01ate within this corpus of numerous styles those motets
wh1ch be10ng to the thirteenth century and postulate a eontinuous historical
development such that the fu11y deve10ped faurteenth-century motet style could
be seen as a log1ea1 outeome of the preeeding century? Do the eonstructiona11y
eomp1ex 1sorhythmie motets of Machaut~ in wnich -the voiees are highly
individuated, find precedenee in the thirteenth-eentury Montpellier motets? »
In orde~, to answer these questions it ia necessary ta estab1ish
w~ich motets indeed date from the thirteepth century. A chronology of
1 . Ernest H. Sanders, "The Medieval Motet", Gattungen der Musik- chrift Leo Schrade. Bern: A Francke Ag Verlag, (1973): p. 538.
ans Tischler, The Montpellier Codex, Part l (Madison: A-R Editions, () 1978), p. xxxii. t- l
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tbis extensive repertoire 1s essential alth~ugh the dating of individual 'J motets is a highly complex matter. Important also to the chronology i8 the
motet's position within the framework of its concordances, where such obtain.
l b'h. Given a chronology' of the Montpellier motets, it is possible to isolate
motets typical of both early and la te thirteenth-cen~ury styles.
The selected motets should reveal upon analysis whether or not there
ia a stylistic progression throughput the thirteenth century in. terma of the
harmonie,'- linear, and rhythmie interrelationships- of the motet voiees. If this study diseloses an increasing diversification in the thirteenth- 1,
century motèt voices, then Machaut r s "high Gothie'~ motets may be placed 1 within tbeir historieal eontext. Otherwise, Machaut may be viewed as
r, innov8:tive.
The motet definitions of Franco and G~rlandia are too early to apply , witQany relevance tQ the late thirteenth-eentury motets under study.
However, the turn of the fourteenth-century A~istotelian, Johannes de
Grocheo, provides a wprking definition of the motet: 3
- A motet ls a song composed of many voices, having many words or a variatiQn of syllables in many ways, everywhere soundlng in harmony. l say composed of many voices, ~., since there are three sangs or four, thus many words, since each ought ta have a variation of syllables with the exception of the tenor i which in some has a text and in others no. But l say everywhere sounding in harmony, since each ought ta sound with the other according to something of the perfeet consonances, that is, according ta the diatesseron ar diapente or diapason, coneerning which we have spoken - above when we treated of the principles. This kind of so~g ought not ta be propagated among the vulgar. since they do not understand its subtlety nor do they delight in its hearing, but,it should he performed for the learned and those
3Translated in Albert Seay,Johannes de Grocheo. Concerning Music o (~Musica). Colorado Springs: The Colorado Music Press, 1967, pp. 25-28. 2 , p
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\ " . who seek after the subtleties of the arts. And it is normally f' performed in their feasts for their beautification, Just as o. the cantilena which i9 cailed a rotundellua is performed in the ~east8 of vulgar laies.
The tenor ia that part on which a11 the others are founded, just as the parts of a house or of a building are plaeed on their foundation. And it regulates them and gives them tbeir quantity, just as the bones ta the other parts (of the body).
The motetua is that s~g which is arranged immediately above· the tenor. lt most oft:en begins on the diapente and continues in the same proportion in which it began or aseends into the d+apason. In the hockets it is called by some the magistrans, as in the hoeket which is cailed 'Echo montis •.
, The triplum is tha t song which ought to begin above thl'! tenor -on the diapason proportion and ta be continued in the same proportion as much as possible. l say, however, aS'mueh l,· !! possible, sinee sometimes it descends into the motebîs---• 1 range or a diapente beeause of euphony, just as the motetus sometimes ascends into the diapason.
The quadruplum is a song which is added to some pieces in ot'der to perfee t a consonance. l say ~ p ieces , etc., sinee in some pieces there are ooly three voices and these suffice, sinee a perfect cdnsonance is eaused by three voices. In some pieces, however, a four th voice ls added, so that, when one of the other ~hree pauses or ascends properly or two voices eut each other off mntually (i.e., in hocket), the fourth voice protects the consonànee . ./ " 1 W1shing then to compose this type, one first should arran~e or compose the tenor and give to it mode 'and measure. The principal part ought to be formed first, sinee by its means the others are formed afterwards, just as nature in the generation of animaIs first forms the principal members, that i8, the heart, the liver, the br~in, and ,by means of these the others are afterwards formed. l say arrange, since in motets and in organum the t~nor is taken from an old song and is previously composed, but ls laid out by the craftsman more carefully in mode and correct measure. And l say compose, sinee in conductus the tenor 1s completely made anew and is modified and extended according ta the will of the craftsman.
The tenor having been composed or arranged, one ought to compose or arrange the motetus ab ove it, so that it sounds as much as possible at the proportion of a d1apente with the ,1 tenor and sometimes ascends and descends aceording to the o harmonie situation. 3 p ,...------r----~------~~------
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But finally the triplum ought to be superimposed on these () so that it should sound as muth as possible with the tenor,in the proportion of a diapason; according to the harmonie situation, it can remain in the middle position or sometimes descend down to the diapente.
Although the consonance is presented in perfect forro with these three (voices), a quadrup1um càn sometimes fittingly "\ he added to these, since, when the other voices descend or ascend in a proper way or they make cuttings or they pause, it will fill out the consonance.
The Montpellier manuscript is an elaborate compilation of fragments.
'non-motets, concordances internaI to Montpelli~r, concordances with motets 4 in earlier,sourees (Wl , F, St.V., W2), adaptations of these, uniea, and concordances with motets in later sources (Bamberg, Turnin, La Clayette). 5 ç, However, if fragments (without a tenor or musically incomplete~in
Montpellier), non-motets (hocket-motets), and repetltions within . 6 Montpellier (musically of one or more voices ôr poetically invo1ving
only a language change) ~ e1~inated from consideration as uninformative , , '7 l,.,.. ~nd representative of neither early nor la~e thirteenth-century motets, ..
then, lt May be assumed that the motets which appear in Montpe1~ier for r 4The abbreviations reter ta the following manusèripts: Wolfenbüttel. Herzog-August-Bibliothek. (Cod. Belmst. 628); An Old St. Andrews Music Book; Florence. Biblioteca Medico-Laurenziano; Th! St. Victor ~nuscript 'P8:ë:[s lat. 15139; Wolfenb~ttel. Herzog-August-Bib1 othek. (1206 [Belmat. 1099 ]). '
5The abbreviations refer to the following manuscripts: Ed. IV 6 de ~Bamber8; Torino, Bib1ioteca naziona1e J.II.9; La Clayette.
6Tischler in The Montpellier Codex, Part l, p. xxxv has listed complete repetitions within Montpellier of both music and text: Nos. 126/100, 144/77, 145/22, 147/75, 151/121, 266/177, 338/289, and 345/20. To this listing must be added the internal~ ~oflcordances of music only. in: 89/59, 128/39, 135/42, 137/73i 141/43, l46/75~ 169/64, ~74/18~, 281/86, ,330/282, and 337/78. ' , 7 If 39 inappropriate motets are subtracted from the total 345 o Montpellier motets, 306 motets remain to be investigated.
4
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,- . .fbr the first Ume are later than th~ Montpellier motets w~th part\al
, r ~ o~ complete concordances in manuscripts earlier than Montpellier.
,~' ,/ FrIëdrich Ludwig has shown that the notation ind!cate~ that W, . '..<- .. 1 !I~ , /~, . F, W, and Madrid w,ere chronological stages in transmitting the.contents f 2 >';~{,,\ :~I!~S Q "!; of the Magnus liber organi.~ Although the position of the St. Victor , <. , 1 c1ausu1ae ia subject to dispute, Hans Tischler argues that the advance ) ".. : ',(.~ 0 , .,. in the teno~ modal patterns of the' fort y St. Victor melismas, from their . t,"
" ';,~ ,?;~ ~ "{~, appearance in St. Victor to that in W2' indicates that the St. Victor J, 9 s~ribes were active ea~1ier than those of w2. lt may further be asaumed ï that adaptations of earlier music, ,through changes in the text or in the
number, music, or relative relationship of the voices; imply a la ter ,
0, ~ motet than that which is musically and textually concordant. Gi- in W, followed by those which alter the music or language of the W l l concordance. These, in turn, would be followed by Montpellier motet~ with exact, and then altered, concordances in F, in St.V., and finally, " . " Unforçunately, the same distinctions do not applY,with any . ' '{\, 8 . See Friedrich Ludwig, Repertorium organorum'recentioris et f' motetorum vetustissimi stili (Halle A.S.: Verlag von Max Niemeyer, 1910), 1 Vol. .1, p. 15 ff. Î 9See Hans Tischl r, "The Motet in Thirteenth-Century France" (Ph.D. j dissertation, Yale Uni ersity Press, 1942), Vol. 1, pp. 53-61: Sanders, ll "The Medi~val Motet , Pl 507 agrees with Tisch~et:. and ~isagrees with u Madam~Rokseth, who hOl,s that the St. Victor melieDl8s were initially W motets from which the t xts were removed. Sanders argues for the 2 J priority of the me1ism4s, because only in St. Victor is the tenor of St. V. No. 1 correctly ident~fied and only in St. Victor are the last eight notes of the cantus firmus corr~ctly given. \ ,~:~ \ 5 •:.1,~. l' : ll-i;,\ -~llf~~ \. , " ',;'". ~--~~. '\ ------.;.-..:..:,'..:..'~' -, , , significance to the Montpellier motets w1th no concordances in earlier r?1v manus~ripts: unica and motets with~oncordances in manuscripts contemporary '" -with or later than Montpellier. That a motet has a concordance in a later manuscript'does not s1gnify that it is later than the uniea in Montpellier, ouly that it endured in popularity. When a Montpellier motet exhibits < , additional votees or a language c~ng~ in a later version, this alteration signifies nothing about,the chrono1ogical position of the Montpellier motet., ouly about the later concordance. Nor is it possible' to assume , ,,. on the basis of the change to Franconian notation (c. 1260),10 which appears f,;Lrst in fascicles VII and VIII (New Corpus), that the Old Corpus ~tets (unica or otherwise) were written earlier than those of 11' - f ascicles VII and Vl II. The presence of, a conductus in Fasc1cJ.e VIII, the ;ogue for which passed in the 1240s,12 and of the textl3 of Mo 301 in fascic1e VII, identified as by Philippe le Chancelier, who died c. 123614 prevent the assumption that Franconian notation, per se, identifies the motets of fascicles VII a~d VIII that have no concordances in earlier .. .. manuscripts as 1ater than those in the Old Corpus. L1kew~se, the converse does not ho1d: Dld Corpus motet! are not necessarily pre-l260 motets -10, Willi Apel, The Notation of Polyphonie Music, 900-1600 (Cambridge: The Mediaeval Aqademy of America, 1953), p. 310. 11The Old Corpus consists of fascicles l to VI; the New Corpus, fascicles VII and VIII. ~ l~ischler, The Mon~pellier Codex, p. xxxi. l3The mnsic,also was probably composed by Philippe le Chancel~ert s:(.nce both text" and music were generally compos,ed together in(hiS perioa. o 14Tischler, The Montpellier Codex, p. xxxi. 6 " , 'r~ 1'1.r:' [, 1 remain chronologically ~ndifferentiated, for the present~ ~s simply later than th~ Montpellier motets with concordances in earlier manuscripts. .f~" , j. .- • (~ ' a, ,r 1 .' '" '.- 1 , ' r' 1 Il , • fi. , " 'k',,' l, '. ", " . 7 '., c .' " ~l-, 1 ------~----~--~------~ 'r '. CHAPTER II CHRONOLOGY AND SELECTION OF fiPlCAL EARLY AND LATE THIRTEENTH-CENTURY MONTPELLIER MOTETS ' { 1< 15 l'. , In his dissertation, Tischler provides a dating of the earlier " MOntpellier motets with concordances in W , F, St.V., and , mote pre~ise 1 W2 than that of Ludwig .16 His argument assumes that a musi~èl dependence upon ~n unèextèd discant clausula or a Latin-texted motet signifies ~ • j anteriority. Conversely, the motets exhibit a growing compositional and textual independence from their pre-existent sources. The early " ,MOntpellier motets follow a sequence of deriving from organa or conducti, then from c1ausu1ae (either Latin-texted or Iater French contrafacta of these Latin motets), followed by motets which are independent of clausulae (either Latin-texted or iater French contrafacta of these newly-composed , , Latin motets), and final1y, motets newly-composed or-independent of extant o models (French-texted). Tischler's categorization could be reinforced by c the gradu~l di~tancing of the mo~et from its origins in the liturgy, with respect to its textual cQ.ntent. The St. Martial incipient motets typically joined a liturgical text in the slow-moving tenor, which consif!ted of a complete Gregorian chant, to a newly-composed and sacred upper part, which often tr06ed or'ëlaborated upon the t~nor texte In the Notre Dame epoch, 15,5ee Tischler' s\ summary in "The Motet", pp. 297-304. • J -.#'16/' , ' See p. 5· abcwe • '.< o '. 1)1~ -< - .. \'. ~-, 1 , ______'...l,...:.,:.;.;''\:..,.-_'_ W',_'...,;.'_':_' .... / ____ ' _. '~, ,.J' f i Ir ••~ 1 the tenor text was usually a fragment of the Mass liturgy, frequently a o GraduaI or Alleluia, and the upper parts usually displayed the features of polytextuality and polinguality. As the text of the upper parts was extended to embrace aecular themes and the vernacula:1infiltrated into these parts, any textual relationahip with the tenor gradually dissolved. Ludwig's relative chronology could be made more specifie by introducing a few dates, sU:h as th~t of thè proposed death of Perotin and that of the completion of the copying of the Florence manuscript. ~ According to Tischler, then, the earliest motets in Montpellier are those which are ba~ed upon an untexted organum, ~r a three- or four-voiced conductus to which a single text is added. Apel writes: In view of the fact that such 'conductus-motets,' as one may call them, oeeur in great number in the sources of Notre Dame (FI, Ma'~ WZ) but are absent GicQ in the .later MSS (Montpellier, Bamberg), they must be considered '. the earliest type of motets. See F. Ludwig in AHdM l, p.236. 11 These earliest motets, of which there are eighteen in Montpellier, a~e found primarily.in fasciele l, ~ith two instances in fascicle IV and One in fasciele VIII.'18 . Next 'in time are the Latin-texted 'motets in Montpellier which are based upon clausulae found first in W , followed by those in F, and those l in St.V. Of the fifty-one" clausula-oased motets in Montpellier, only 19 eight motets· are Latin in both Montpellier and F, St. V., or W2• One - .' 17Ape1 , Notation, p. 274 footnote. li 18A chronology of this and subsequent. categories 18 given in synoptic form on pages 16 and 21. Colour coding permits coordination with the o complete list of motets given in Table 1 on page 24. -../ .- 19This includes Mo 35, 36, 42, 44, 47, 59, 62, and 63 • , 9 , , ,------,------'-'--r~------~------. ci ~ (MO 26) Is macaronic in both Montpellier and • Seventeen motets have a (), w2 , ~atin precedent although they are French in Montpellier. 20 The French , - • - 21 text which appellrs first in ~2 .seems to be a later application and maltea this a hybrid: category, be10nging only part1y here with the clausula-based Latin motets. The remaining twenty-five French motets deri\red from . ,22 clausulae have no Latin precede~t, and have been categorized in Table 1 on page 24 as French contrafacta 'motets.' Mo 35, the ~our-voiced "Mors", belonglng to thia second category of clausula-based and Lat1n~texted motets, ls termed by Tischler "Old Latin". ï. , 1 Tischler notes that organa quadrupla are first mentioned in two edicta 1 of the Bishop of Odo in 1198 and 1199, and that Anonymous IV attributes 23' two specifi~ organa quadrupla in F to Perotin. '~, Since these two, and " the source of ''Mors'' are the only extant instances of organs quadrupla, then several observations fo11ow. Perotin probab1y composed hi,s organa ' , . quadrupla prior.'to its first mention in 1198. Motets, such as "Mors", dependent.upon organs quadrupla, must have,been composed slightly 1ater 24 ' than the organa quadrupla, c. 1198. Perotin, whose illustrious Dame (\ ia •nowhere associated with the motet, probably died not much later than 20 , This includes Mo 29, 19, 21, 22, 31, 86, 111, 124, 185, 189, 192, , . 194, 210, 211, 220, 240, and 244. 21 ' ,Tischler, in "The Motet", p. 298,' suggests 1205. ,~4 ! " 1 22It is assumed that the Latin mqtets are lost, rather than i assuming that, the French texts were app1ied directly ~o c1aus~lae without intermediary Latin motets. 23 See the discussion in Tischler, "The MQtet", p. 42 ff. o 24 Tischler suggests 1190-1200. 10 ~ ~ ______~~~J ____ ~ ___• ______ o 25 " 1198. AlI of the clausula-based motetsr with Latin texts, inc1uding those o to which French texts were later added, were probably composed before 1200, and hence, fa11 outside the scope-of this paper which is concerned w~th only thirteenth-century motets. Likewise, the motets dependent upon an even ~ earlier organum or conductus are too early for present purposes. Furthermore, the three-voiced Mo 62 is dependent upon music by Perotin, acçording to Tischler. l t too, then, must have been eomposed lrio~ to Perotin's death, c. 1200. and after ~erotin' s revision of the MagnJ~ b 26 liber organi, where" three-voiced compositions abound.- Tisch1er holds - 27 that Leonin wrote ,the Magnus liber organi between 1160 and 1170 and .Perobin thus between 1170 and his death in c: 1200,28 most probab1y between 1180 'and 29 1200. The three-voiced motets, dependent upon these' discant c1ausulae, must have come into being after 1180, probab1y not until 1190. If 25 Tisch1er hypothesizes his death as c. 1200-1205. lùt, Ernest H. Sanders, "Dup1e Rhythm and Alternate Third Mode in the 13th Century", American Musicologiea1 Society Journal, Vol. x:v 0.961): p. 280 footnote argues that Tisch1er's date for Perotin's death is incorrect because Tishc1er' s argument is dependent upon the ea1'1y thirteenth-century theorists not mentioning Perotin' s name in connection with the motet. l t is Sanders' contention that the earliest motets were simply called discantus (or possibly even clausulae) . "Thus, Pero tin surely figured in the composition of the earliest Notre-Dame motets". Sanders holds in "The Medieval Motet", p. 531 footnote that Perotin' s death "may tentatively be assumed to have occurred no later - nor much earlier - than ca. 1225". 26 "Congaudeant catholici", in the 1140 Codex Ca1ixtinus is genera11y held to be the earliest three-voiced composition, if two-part organa are disregarded as potential three-part works through the use of doubl1ng at the octâve. However, Pee~r Wagner, on p. 166 of his Die Gesange der ' Jakobusliturgie zu Santiago de Compostela (Freiburg: Gebr. Hess & Co., 1931) holds, controversia11y, that the upper parts are intended as a1te"rnative motet!. 27 / ~ " Tischl el' , "The Mo te t Il, p. 35. o 1 28Ibid., p. 38. 29 Ibid., p. 49 30 composition of three-part motets was discontinued shortly after 1200, then, Q clausula-based motets were probably composed after 1190 and before Perotin' s (J \ death in c'. 1200. Thus, aIl"" 1:he Montpellier motets which are based upon clausulae are to be disregarded in this paper as too early to represent t~e , earliest, thirteenth-century motets. Rather, the earliest thirteenth-century motets of concern here will occur in the next stage of motet writing, which begins around 1200, when the tw-voiced motets become independent of clausulae. Initially, the texts were written in the familiar Latin. Two of the three Montpellier motets in this category retad.n the Latin language of their sources in the" motet fascicle of F: Mo 52 and 57. Only one Montpellier motet retains ( 1 the Latin texts of its source in W : Mo 65. AlI three motets, however, 2 are otherwise changed in Montpellier. Both the triplum and, the motetus of· Mo 52 retain the motetus text of F. Mo 57 has a different triplum in F. ',''. , Mo 65 bas one more voice than the W version. 2 Rebecca A. Balt~er reasons that F, fascicle VII of which contains thd.s 31 type of motet, was comp1eted by 1245-1255. On the basis of a stylistic progression towards less rigidity in the d~awing of leaves, tendrils, arches, 32( hair, eyes, figures and drapery, from F, to -the S~ Louis Psalter, to wor. k s execute d b y Ma ster Honore, ~ 33 s h e proposes t h at t h e co~p 1 et i on 0 f F 30Tlschler; in ''The Motet", p. 29 notes that none of the treatises written from about' 1230 on mentions them, whi1e the two-part motets are extensively discussed. J 3lsee Rebect:.a A. Ba1tzer, "Thirteenth-Century I11uminated Miniatures and the Date of the Florence Manuscript" in American Musico1ogiea1 Society Journal, Vol. XXV (1972): pp. 1-18. 3211done sometime between 1253 and 1270 probably in the late fifties or earl,y sixties". o 33"the earliest known work of Honoré • • • was finished by 1288" • • 12 would faU between 1245 and 1255 -- not 1285 ta 1314 as Buggested by ( ) Léopold De1isle in 1~85. If F ia the l'aat manuscript to exclude the French .. ,. (" language, then aIl the two-voiced, Latin motets under consideration must 34 have been written before 1245 and after 1200. However" Ml1lntpeUier retains none of these earliest, thirteenth-centurYmoteta lJnaltered, sa they too are unsuitable for conside~ation as the earliest thirteenth-century motets in the Montpellier manuscript. The remaining thirty-one Montpellier motets "based upon Latin-texted motets which appear first in F and W are contrafacta motets reflecting 2 a slight1y later 'stage of development, because of the use of the French language. The six motets • nat derived from clausulae, 35 together with the ftbove-mentioned, twenty-five French contrafacta of Latin motets which are based upon clausul.~e, 'probably represent the period from 1205 until the writers of 1J1otets abandoned pre-existent models. The Montpellier manuscript retains. from W the French, language of five of the six contrafacta motets 2 presently under consideration, and the equivalent number of voices of three 36 of the remaining five. These three motets (Mo 88. 90, and 216). which reflect the tentative beginnings of the contrafacta use of the French " l ' language are termed "Old French" by Tischler. However, only one (Mo 216) is 34 Tischler, in "The Motet", p. 303, holds that F was finished about the year 1236, sinee F contains a conductus which has been assigned the date 1236. 35 1 This category inc1udes Mo 20, 83, 88, 90, 104, and 216, all of whiC;h have both Latin and French versions in W ' except for Mo 104 which 2 i8 Latin-texted in W . 2 36Mo 20 has two voices in W2 and four voiees in Montpellier. Mo 83 < haS two voices in W and three voices in Montpellier. () 2 • 13 \ 1 1 1 1 1 ". >;.~"~ ,:.. ),,:.-:,",.,.~--:-- _____•__ --1J ------____'____ r.__ •______ " ''Il ~ ~~_. ~~ ~ .. ':t - . ---r--'----- ,1 typical of the period, sinee Mo 88 and 90 have three voiees in both Wz and Montpellier. lt, however, is more illustrative of the work of poets rather than compose~s. While representing the earliest, thirteenth eentury'motets in MOntpellier, it is not of prime interest to the musician, net' the purest musical counterfoil to the later mQtetà 'with whieh it would have -to be eompared. Fur thermore , one motet cannot be considered to constitute a representative sampling of this time and type of motet. 1 , 1 Tischler's last stage in the development of the early motet invo1ves ,i motets with French texts, whieh a:re independent of pre-existi'ng clausu1ae and ,of pre-existent motets. They are newly composed insofar as . pre-existent evidence is lacking, and appear for the first time in Wt The Montpellier motet's whieh are musically concordant w:1:th these lrW motets 2 either retain the French texts, or oddly, change them to Latin. If a change represents an advancement, then two sorts of Montpellier motets may be distingui shed , temporally. The Wz motets which are rep1icated exactly with respect ~o language in Mon~pel1ier are probab1y earlier than those whieh are not. Similarly, the W motets which are refleeted exactly with 1 2 l' respect to the number of voices in the motets in Montpellier are probably earlier than those which are no t. In any case, whe ther later or merely contemporary, the newly-composed, French-texted, W2 motets are a1tered in , \ Montpellier, so they must be diffèrentiated from the W mot:ts which are 2 reproduced exactly in Montpellier, sinee this paper i5 eoncerned with motets in Montpellier which are preeisely concordant with motets in Il earlier manuscripts. Of th~ twenty-five MOntpellier motets which are concordant~ with newly-composed, Freneh-texted motets in W , only eight o 2 eithet' change the language from the source-motet or alter the number of 14 l ,'I ... ' 'i. r J' l '" • 1 /;r't' .; , '-:!';;'<~' ./" ,'/:; ;:'~"':,\;r,-,::,:",,,_, _ .....,-1..;., ~'.... ~'_~~..;.~~(:...( ·_"':..:.~.t,, __ \J' . \ 37 voices: Mo 25, 28, 32, .39, 92. 105, 132, 133. [, Althaugh W cantains both "Old French" and ''New Frenchl! motets without (J 2 pre-existent, Latin models, it may be assumed that newly-composed. French- texte4 motets were not attempted unti1 st least a decade later than the beginnings of the Frenoh language usaie in 1205 in the contrafacta'motets. As above, with respect to F, Baltzer feels that because of the increasing ~asualne~s of the depictionè of the illuminations, W2 was completed by 1260 or 1275. 38 Consequently, if the eight W motets mentioned above, in 2 which the language or number Qi voices are altered in Montpellier, are " exc1uded as later or merely changed, se~ent~en Montpe11i~r motets39 represent the ear1iist, thirteenth-century motets (c. 1215 ta, 1240) '. ~ ref1ected in, Moatpel1ier. when mùsicallY and textually independent motets were composed in, the French language, 1arge1y with two voices. 40 Tischler bases his study of the motets in W , F, and W on "those in two parts which l 2 37Mo 32 exchanges the quadrup1um and the motetus, MO 39 changes the text from French to Latin, . and the remaining six add voices. Certain1y, on1y;the added ~oice may be 1ater than the other voices of the motets, which a,therwise correiPond to the French-texted, W motets 2 in terms of lang'!8ge.,' . _r _\ ;, '" • 38Baltzer, "Thirteenth-Century I11U\l1inated Miniatures", p. 17. But Tischler in "The Motet~l, p. 56 cites Heinrich Husmann, Die Motetten der Madrider Handschrift. p. 174 as holding that W2 was completed by 1240 or 125q, which Ludwig anticipated. Since Montpellier is ~ la ter manuscript l' than W2 and cantains, according to Madame Rakseth, six 'motets representative of the early years of the fourteenth century (Mo 328, 331, 332, 340, 341. and 343), there must have been a lengthy hiatus of perhaps seventy years between the comp1etian of W and Montpellier. 2 39 This category involves Mo 110, 127, 136, 149, 181, 183, 186', 18i, 191, 193, 203, 209, 225, 232, 248, 249, and 252. 40 On!y four of seventeen motets, Mo 110, 127, 136, and 149- a~e for.. o three voices. ~ 15 • .. ' 41 are 1IlOat numerous -- 120 diffel'ent two-part motets, ", the new, French !-' 1 l~ 1. three-voiced p10tet not being instituted proba'bly untll "the decade 1220 to 1230 aud the unchallenged reign of the French doubl,e motet beginning probably in the decade 1230 ta 1240. ,,42 In other wOl'ds, not only are the two-voiced, new1y-composed. French motets more numerous than the three-voiced ones, but they are also earlier. Thus, only the thirteen, two-voiced Montp~llier motets having precise concordances with newly-composed, French-te~ted, W2 motets will be se1ected.for ana1ysis in this paper, as typical an4 il1ustrative of the period ,Qf the earliest, thirteenth-century motets in the Montpellier 1IÎanuscr~pt -- 1215 to 1240. 1 The following chart may serve ta U1ustrate the chronological •. fI. develqpment of the early motets represented in the ~ntpel1ier manuscript, 43 assuming that .there, is no chronological over1apping of styles: 1180-1190 (lS'Mo motets) on orga~um or conduëtus. Latin on clauS'ulae, Latin motets) of clausulae, Latin French contrafacta of Latin motets (25) French contrafacta of Latin motets (6) 1215-1240 (148 ~ motets) . of clausulae and of Latin motets, French, unaltered in Montpellier (17) 0) French, three voiees of clauBulae and of Latin motets, French, altered Montpellier (8) .; 41See Tischler, "The Motet", p. 147. 42 ------# o Ibid., p. 301. . 43 The co10urs permit coordination of this chart with' the ëomplete 1iat of motets given in Table 1 on lpa~e 24. 16 , ':--l~=~=-r----"-''''''''''-_''''':''------~-: ,~. p - ...... ~'--_____' Mlé"", ______ " For comparative purpose,s: Tischler's chart of the early motets in W , F, 1 () 44 " W2 ' and Madrid follows: •••• -1190-119 5~l2 00.,.12 05-1210-1215~1220.,.1225~1230'<:" 1235...... " i Motets in organum style , # Three and fjl)ur-part motets Latin two-part motets , ," irench two-part motets Latin double motets Conse~at1ve double motets Modernistic double l1Iotets .. ------ 1 ,1 According to Madade Rokseth, some of 'the later mote ts may be· 1 ch~ologically ordered, because of a'il increasingly complex, syl1abic .,. , 45 i \ subdivi$ion of the brevis in their upp.er voices. After the period of the modal system, composers subdivided the first brevis in a group of ll 44See Tiséhler, "The Motet , p. 304. 45 $~ Yvonne Rokseth, PolyPhonies du XIIIe si~cle: Le Manuscrit () Hl96 de la Facu1 té de' Médédne de Montpellier (Paris: Yvonne Rokseth, 1935-1939), Vol. IV, ,pp. 77-94. 17 , / ! 1 ( ,1 / '1 j .'. ~ ~~--~-. ;~~~~~~':~~,~:~! . " ! 1 . , l, three breves into two semibreves, and then later, not only the firs t brevis, ~ 1 () but anyor a11 of the three breves. While instances of the duple division of1lthe brevis are present in both the Dld Corpus and fascicle VII, it was not until the Ume of fascicle VII that composers began t~ divide 'the brevis into three -,~ first ornamentally, as in the three motets by 'Adam de lâ , . Halle (Mo 258, 263, and 279), and( thén by applyins' ta each sèmibreve a 1" sy11 a ble. Since Franco a f Cologne iIi his....."L, Ais .. cantus mensurabilis f'orbids. , r the subdivision of the brevis into. more than. three semibreves, the \ implication is that this was already beins practised by about 1260. '1.. .) Cerœinly, by the time of Petrus de Cruce, who was active c. 1270-1300 the " 46 . mu1 tipl~, 8y11 abic subdivision of the brevis was practised. This is attested ta by the triplum of Mo 253, where Petrus de Cruce subdivides the brevis into four. Subsequently, the multiple semibreves were introduced ;; into the motetus, at Urst in conjunction with those of the triplum, and then to a degree which surpassed the semibrevis activity in the ttiplum. Following this, in the manner of fourteentQ-century Philippe de Vitr'~~. ~b.e subdivision fell towards the end of a group of breves. Finally, as the tenor became secularized, it tao became more active through the rete,ntion " of the lively rhythms and mixed modes in the French tenors dependent upon rondeaux, virelais, street cries, and chansons wi th refrains, al though the ''Portare'' tenor of Mo 296 already includes mu! tip1e semibreves. 4 7 46Tischler, The Montpellier Codex, p. xxxvi. 47 A~el in his Notation, does not provide a detailed categorization "-, of the uses of mul tiple semibreves, his concerns being more g~nerally to d~fferentiate Franconian and Petronian notational practices, as a whole, from those of the Ars nova. He does, however, agree on p. 319, that in (.) the motet by Petrus de Cruce, Aucun ont trouvé chant (Mo 254), subdividing the brevis into more than three semibreves oceurs only in the triplum. 18 , The;fast witten réfer~nce to Petrus de Cruce is in 1298. The royal, " ," treasury records payments to Petrus de Cruce of Amiens who W8S commiss1oned , to prepare an historia "of the 1ife of St. Louis. Madame Rokseth accepta " tbat the reference is to the musician. so that historia may be interpreted as a dramatic 1iturgy involving music,. 48 She abo notes that in the two I, motets known to be by Petrus de Crucè (Mo 253 and'254),49 only the trip1um e"hibits a multiple subdivisioning of, the brevis; the motetus is not yet " subjected to this innovation. She attributes this later development to '( v 50 . Jehannot de l'Escurel, on the basis of a similar procedure of multiple subd1viding of the bre~is in his ballades and ronde~ux in the Roman de , • J _: Fauvel •51 Cons~quently , the Montpellier ma te ts 311,,, 314, 316, 317, 332, . and 337, which have l1vely moçeti, may be considered to be 1ater than those 52 by Petrus de Cruee, i.e., post-1298. Thue, only the two Petrus ,de Cruee .' "motets (Mo 253 and 254) and those with the distinctive Petronian trait mentioned above (Mo 255, 264, 289, 298, 299) fall with Any certa1nty within • the scope of this paper as typieal of the latest,thirteenth-century mOtets , in MOntpellier. AlI the motets which show the above post-Petronian . 1 1 ,i 48See the discussion in Rokseth. POlyphonies,' Vol. IV, p. 79 and footpote. 49Ape1 in Notation, p. 318, remarks that Petrus de Cruee 1s o(ten mentioned by theorists of the early fourteenth century. .. " 50 " ,0 Since Jehannot de l'Escure1 was hanged for his debaueheries in 1303, the latest date that can be 8ssigned to him 1s a few years after the death of Petrus de Cruee. 51 Roksetb, Polyphonies, Vol. IV, p. 93. / () 52Tischler assigns Mo 317 and 332 ta Petrus de Cruce in his Table of \ Contents for The Montpellier COdTX' a1thouglLthe multipl~ semibreves are in the motet!. He a180 fails to assign Mo 255 and- 298 ta Petrus de ,Cruee, although the multiple semibreves are in the triplum. ., 19· -. -.--<'.~.. ~------, ... () u . ç \J , • ,1 ! 53 :. characteristics (111Ultiple subdivision of' the brevis in the motetùs, ) ( subdivision towards the end of a group of breves, and active secularized tenors), in addition to those which are specifieally identified by Madame 1 1 Rokseth as fourteenth-century motets 'must'be considere~ter than ..1 1 54 Petrus de Cruee, and henee, beyond the scope of this paper. The ~ remainder of the later Montpelli~r motets in fascicles VII and VIII, where the triple subdivision of the brevis first appears, are presumably earlier than the Petrus de Cruee motets, and the remainder of the later Montpellier ,i " motets in the Old,Corpus, where duple division of the brevis.prevails, are presumably ear1ier still. Either will be tao ear1y to represent the ~ J latest, thirteenth-eentury Montpellier motets, in a stylistic analysis. The seven Petronian-like motets, with multiple subdivision of the brevis in the triplum alone, are the oo1y motets which reliably fall towards the ,"1 end of the thirteenth century, since they could have been composed as late as 1298, the date of the last written reference to Petrus de Cruee. l , The fol1owing ehart continues the synoptie ch~onology of page 16 53 In addition to the motets assigned above to Jehannot de l'Eseurel, this includes Mo 309, 312, 313, 318, 319, 321, 323, 325, and 333. lt should be noted that Madame Rokseth, Polyphonies, Vol. IV, p. 140 denies her arguments of pp. 77-94 by assigning Mo 311, written in the manner of Jehannot de l'Escure1, with multiple semibreves in the motetus as weIl as the triplum ta a time prior ta 1280. Similarly, she denies the post Petroriian deve10pmental ch~racteristics in Mo 312, with its French rondeau-based tenor, in Mo 313, with its French-virelai-based tenor, and in Mo 309 and 321, with their tenors dependent upon secular refrains, by ? listing them all às having been written before 1280. Without a stylistic analysts'of the motets invo1ved, it can only be' eonc1uded'that the motets ; identifièd as po'st-Petronian are, at best, 'contemporary with those by t' Petrus de. Cruee. In that case, the Petronian-like motets -- al1 seven of 1 which are in fascicle VII -- are still the oo1y ones in Montpellier that ean be held with any certainty to be the latest, representative motets of the th~rteenth cent,ury" .. ' 54 () This ineludes Mo 328, 331, 340, and 343. 20 1---- ~------~~---_._- ; , .lI \ and similarlx may be coordinated with Table l on page 24: 1215-1240' . " .. 'f" ... trus-1ike and neither contemporary with nor 1ater than . Petrus-like motets, 01d Corpus <123) 1260-1300 (61 MO motets) Petrus-like and ne1ther contemporary with nor 1ater than Petrus-1ike motets, fascicles VII and VIII (54) etrus-like motets with multiple subdivisions of the br~vis in the triplum only (7) (19 MO motets) t-Petronran-1ike treatment of semibreves , secu1ar tenors fied as fourteenth century by Madame Rokseth -1; Thirteen, two-voiced, French-texted motets have been chosen as representative of the ear1ier thirteenth-century motets in Montpellier on the basis of their precise concordance with W motets. The copying of W . 2 2 was considered ta be after Perotin's death in c. 1199 accord1ng to T1sch1er and after the copying of F in c. 1236-1245 according to Baltzer, in c. 1260- 1275. Thus the thirteen" Montpellier motets would probably have been 1 1 . composed before 1275 in order to' have been included in W, lt is typical 1 2 of the medieval period for the compilation of a manuscript to ~e considerably later than the compositions of the worka included in the manuscript. Since unde~ the composition in 1240 of the, latest ,motets consideration would fa11 thirty-five years prior to the lat~s~ date suggested for the copying of W2 • in 1275, the 1199 ta 1275 time-frame for copying W provides independent 2 confirmation that the composition of the thirteen ear1y works occurre~ betwe~n 1215 and 1240. ,t~'Q~ Seven, three~voiced, French-texted motets have been chosen as 1. r~presentative of the later thirteenth-century motets in Montpellier on 't~ basis of the multiple, $yllabic semibreves in their tripla alone, in , , the manner of Petrus de Cruee, who probably died in 1298, and on the-basis f 21 . il • - 1 , ,1 :,... , : l -, \ ~,~ ~ (' .. 1.,' , , ' ~ , ,. l, of their being recorded in lraneon1an notation which c~e into being c. 1260~ Thus t the seven later motets probably were composed between 1260 and 1298. () Table l, whlch follow8 on page 24 shows the concordances of each of the Montpellier motets, where these obtain. The 1eft side of Table 1 shows the Montpellier motets with concordances in earlier manuscripts. The right side of Table l shows the remainder, the Montpellier motets without concordaucds in earlier manuscripts. The right side, then, includes some early motets for ~le, Mo l which i8 a conductus-motet --' for which no 1IlOdel has yet bean lund, untc{'· in Montpè1liK, éind. motets. vith. f J 1 concordances in maeuscripts contemporary with or later than Montpellier. 1 ~. Fragments, non-motets, and confordances internal to Montpellier, which ate ta be excluded from this study, are indicatad with appropriate words: 1 no beginning, bocket, or repetition. !• On the left side of Table 1, one horizontal line connects a Montpellier motet witb its earliest, untexted sourcè-clausula. 1wo horizontal lines indicate the Montpellier motets, whetber tbey are based upon or independent of clausulae, which have been altered in terms of language or number of voices, from an eariier Latin source. T9 signify the Frencb language, "Fr" ls added to the horizontal lines of the contrafacta motets, whether they are based upon or independent of clausulae, and whether the French language ia first applied in W2 or Montpellier. Three • horizontal lines represent the Montpellier motets having precise "/ '- , . conco~dance9 with newly-composed, French-texted, W2 motets. These are the earliest thirteentb-century motets to be analyzed in the aext chapter, after the three-voiced ones are eliminated as atypical of the period. Four horizontal lines represent the remaining. perhaps later, Montpellier motets'which do not prec1sely concord with newly-composed, French-texted, W 2 22' ~."~\~-,~~~"'\\\" ,'",... ' ;k,:!'" '.' \",.,' ','~.t?~ ,...... \.~~,l' ______' _'. ___-=- ______-:..:..".:....i·'_::..~';1 :~~ ______'_ .... '._' --:,....;.'_,.•..;.'_'--_ .• "~~ ,', . motets, in terme of either language or number of voices. r:,\ , " V On .' the right side of Table 1, a shortened horizontal 1ine represents Montpellier uniea. The Montpellier motets wh~ch are musically and textually unchanged in later concordances have been indicated br a single horizontal line, and the altered motets by a double l1ne. The Petronian- ), like motets, which are to be analyzed in the next chapter, have been indicated w1th three horizontal 11ne9. AlI the motets with post- Petronian characteristics, in addition to those which are specifical1y identified by Madame Rokseth as fourteenth-century motets are indicated by four lines. Colours des!gnate the chronology of the Montpe1lie~ motets which 1a specified on pages 16 and 21. " o , ' 23: TABLE 1 -----EARLIER OR-LATER CONCORDA1~CES OF M~TPELLIER MOTETS MONTPELLIER -EARLIER LATER F St. V. W 2 l;locket motet ) /:tocke t motet , Oi'ganum organum organum organum ànum _ clausura~...... ~ ...... cl a'ff'rm=== clausula~_':== \ .clauSUla~.... _-' .... ':=1 clausula~_':== f , , - SOURCES: Ha..~s Tischler, ed. t T'né 1,!ontEellier Codex, Part () l (Madisop: A-R Ed_i,tions, Inq. '- 1978), . pp ..xxxix-lxxi, and Yvonne Rokseth, ed., Pollphonies du XIIIe siècle: Le Manuscrit IU96 !!e la Facul t~ de r,!édécine de LIontpellier (Paris: Yvon..l1e Rokseth, 1935-1939). ,24 l, TABLE l Oontinued :MONTPELLIER EARLIER LATER ' 'W .. F St. V.' W' l 2 'causula ..____ .... ~~ ClaUSUla~.. ~::::==::::::::::;:::::::;;= , ~Ia~u~s~u~==:::::::::;:::::::::: t clau~s~u~==::::::::==::::::::::: clau~s~u~:::::::::::;::::::::== 1i ! ! i , Crausula~.. ~::::==::::::::::==::::::::: 1 l, 1 '. 1 no ,tenor 1 1 () 25 ./ TAl:JLE l Continued () MONTPELLIER EARLIE~ LATER F W st. v. 2 _cl auslll a ~ ___~ __.:== clausula. ..___ _ ClausUla~_':::==:::::::::;::::::::; cfausula!.. _.:=;i::::::==:;::::::::: .. , i\ 1 clausula ..___ iii o 26 TABLE l Continued () MONTPELLIER EARLIER LATER F St. v. Cla~~======Fr== repeti tlon ' Fr r~ • clausula,..__ iiii 1 clausula '-_-===1 clausula;.1 .~F~r .::== cl ausula ____... _ Frii \ . 27 --1 1 Continued (), MONTPELLIER EARL 1ER L!TER F St. v. _clausula ______ clausula ...___ Fr _ . clausula.,.1._-- ....~F~r::::= Clausula~'·.'~·":== repet it ion repetition repeti tion () .. 28 TABLE 1 - Continued :: : , *: (C) MONTPE~LIER \ EARL 1ER LATER "- '\ .. " --w F 1 St. V." W2 clausula~...... ~"""" repet i tion " Fr clausula~~...... - 144 repetition r epe t i t ion 145 146 repetition 147 repet i t ion 150 no music 151 repe t i tion .~ 152 no music 153 no tena r 1 \154 no tenor ! .' 1 ~ tri plum. !, 1 1 1 1 . 1 '1...; ',' -- . . " 29 \ ) , TABLE 1 Oontinued MONTPELLIER EARL 1ER LATER ) st. V. -'--__"'- • 1 cl aus ula r----'--1iii cl a US ula: ~ ____... ____ _ clau clausu lat-_____ cla usu la~ ____~ __":== () clausula 30 -" /4. TABL~ l Continued () . MOlTTPELLIER EARLIER LATER F St. V. , ) ClauSuJa~ ~ .I==== ,- ...... music music >~ clausula'-_...... ___ Fr _ music cla~~I======cJa~m====== Fr== clauslJlal- ...... _~ ___ _ () Clausulal-_-=== 31 /r TABLE l Oontinued --- J MONTPELLIER () EARLIER LATER . F St. v• --.---<_ .. - - -, . ~ ' . .. 1 1. - ,1 clausula ilJ, clausul a JI 'j .1. l, cl , 1 clausula clausula !1 .clausula Il cla u su I·a " clausula , " l, clausul ~ *According to Rokseth, Polyphonies, p. 242, Mo 225 includes 1 () a textual refrain by Jacques Brete1 which was composed c. 1285 and . Mo 232 includes a refrain from the Roman de la Poire written by'M. Thibaut towards the 'mlddle of the thirteenth.ceutury. Both of l1 these motets, then, would be later than indicated.· . 32 .. .' · ( TABLE 1 Continued ( ) MONTPELLIER o EARLIER LATER F St. V. J claus u lar---'~~iii 273 n 0 begi~ning repet 1 t ion 274 275 no ending 276 no i 33 /' ,~ ~ TABLE 1 Continuad t!I • ( ) - . , :MONTPELLIER LATER lit " ' F St. V. ' , , / ... repetltion 1 / l' , .. PhIlippe le Chancel ier' ,34 1 TABLE l - Continued o MONTPELLIER ' , EARliIER"'" LATER F St. V. 1 ,1 i , 1 1 Clausula ~_iliF __ ! ~ i , ' , , , . () 35 " , '{ 1 ! ! l, "--~----- TABLE 1 - Continued o MONTPELLIER EARLIER LATER F St. v. repet ilion 345 " , . . !. j ! o 36 . , ..... 1",. ~------~,~., • 1 .f r. o " CHAPTElt III • STYLISTIC AN'ALYSIS OF TYPlCAL EARLY AN!J LATE .J TBIltTEENTH-CENTURY t-I>NTPELLIER MOTETS ,. Contrary to the tentative beginnings in the twelfth-century conductus motet, where the upper voices are textually and rhythmica11y' integrated, . j And the fourteenth-century de Vltry motets, where there 18 increastng 1 1. 'i concern to coordlnate the phrase structures, texts, languages, and rhythm. of a11 the voices, the thirteenth-century continental motet, according to 55 Sanders, aima for individuation of the voices. Do the se1ected motets corroborate this contention by exhibiting an Increasing harmonie, I1near, and rhythmic independence of the voiGes, throughout the thirteenth,century? According ta Franco, thirteenth-centu:ty harmony consisted of the \ consonances and dissonances that are 90unded 'Jt the same time and in differen t voices: Dy concord we mean two or more sounds so sounded at one time that the ear perceives them ta agree with one another. By discord we mean the opposite, namely, two Bounds so combined that the ear perceives them ta be dissonant. 56 Garlandia'sclassification of dissonances (translated in Tiacher, ''The 55See the discussion in Sanders, ''The Medieval Motet", p. 522 and pp. 554-562. 56 ' This rather tautological statement is translat~d in William Oliver () Strunk, Source Readiys in Music History from C1ass:l.cal Antiguity through the Romantic Era. N~w York: W. W. Nortol'f, 1950, p. 152. 37 ,,. , , , ,i ,1 " .. ' " 'I! c ~\~ __~ ____""' ____ ._I"J ___ """':'_--'- . tl 1. , (> Motet pp. 215-216) ,in to :f.mperfec t (major sixth and minor seventh), medium 1 (major second and minor sixth), and perfect ones (minor second, tritone, and • major seventh),underlies the following 'investigat19n. FrancoIs classification 1 includes the same dissonances, but,merely provides different headings, namely, \ perfect and imperfect. Concords for both theorists include perfect un1sons' and octaves, intermediate f1fths and fourths, and imperfect major and minor thirds. . There is little evidence to show that the voiees of the later motets are more greatly differentiated by dissonance on strong beats, than in.. the earlier motets. On the contrary, the later motets exhibit a considerable reduction of strong-beat dissonance in 'comparison with the early motets, in 57 spite of the additional third voice of the la ter motets. The early motets have forty-five seconds, tritones, sixths, or sevenths on the firat and ~ourth beats; the late motets haveoonly six. 58 With these latter, FrancoIs prescription is usually followed: He who shall wish ta construct a triplum ought to have the tenor and discant in mind, 80 that if the triplum be discordant with the tenor, it will not be discordant with the discant, and vice versa. 59 57See the Appendix for specifie strong-beat dissonances. 58This figure reflects an adjustment for the different number of measures in the early and late motets (eight, strong-beat dissonances are multiplied by 1.5) and an adjustment for the greater opportunity for strong-be4t dissonance, in the later motets; because ·of the additional voice (twelve i8 divided by two). In the fo11owing analyses, all the figures for the late motets are multiplied by a factor of 1.5 in order ta facilitate ease of comparison with the early motets, sinee there are 267 measures or 556 perféctiones in the thirteen early.motets and 188 measures or 404 perfectiones in the seven late motet,s. There are preeisialy 1.42 measures, in Tischler's transcript~onst or 1.37 perfectiones more in the 'early motets. 59 1 Translated by Strunk, Source Readings, p. 155. 38 1 .1 r .:...:-______~~."~::...:_:::.::.:.î...... 1.',·.....:':._.';;;.,_____ ....ti.' _____ .. ,1rIIi""1 ___--.!:... ~ "1 The above, strong-best sieuation suggests an evolution through the C), thirteenth century towards 'a greater hàrmonious relationship among the motet voic~s, a greater fusion through a consonant relationship,of the voices, rathet than differentiation through a dissonant re1ationship. This position 1s supported by a concomitant increase in the' use of intermediate 1 fUths on strong beats. In this regard, Mo 289 is exemplary: twenty-three 1 A out of thirty-ône first beats in the moté'tus fom the interval of a fifth 60 with the tenor; the remainder are a11 octaves. However, Intermediate fourtha decrease in frequency on strong beats through the century. '!'wenty-seven, first-beat fourths in the early motets are reduced to fourteen, '\. 61 P' first-beat fourths between motetus and tenor in the later motets. Likewise, the number of imperfect thirds is cons1derabl:y reduced fr01ll fifty- , 62 nine on the first and fourth beats of the early motets to a mere six .1 j between the motetus and tenor, on the same beats in the 1ater motets. 63 In SUlU, with the exception of the decreasing ;,tse of strong-beat consonant '\~, fourths and ,thirde,. a'sonorous interrelationâhip of the voices through consonance, rather than an individuation of the voi~es thr~ugh dissonan,ce is increasingly evident throughout the thirteenth century on strong beats, because of the diminishing use of dissonance, and the increasing use 60In all, there are 192 strong-beat Bfthe between the moteti and tenors of the ear1y motets and 266 (177 multip1ied by 1.5) in the late. 6~ine, first-beat fourths have been multiplied by 1.5 to correct, tbe difference in the number of measures between the early and late, thirteenth century motets. 62Four -multip.lied by 1.5. (.) 63Rokseth, Polyphonies, Vol. IV, p. 216', idiosyncratically considera ~hat the older a motet, the greater number of thirds it i8 likely to contain. 39 64' of fifths. . , o On the other band, through the thlrteenth ceJ1tury dissonance ia increasingly found in places other than on" the mail1 beats. Whether the dissonance 1s conectly resolved ta a consonance or not, it tends to separate the voiees rather than relate them, sinee t~e medieval esr perceived , l dis,cords as two sounds that did not agree With one another. More than r double the number of off-beat dissonances occut' in the later motets than 1 in the ear,lier ones on weak beats, in omaments, or in the multiple, 1" 1 syllabic subdivision of the 178 off-beat dissonances 1 66 in the esrly motets and 251 ones. If the triplum. r s t 'j 1 1 dissonant relationship with the tenor is ineluded, there are a total of 396 67 off-beat dissonances in the 1ater motets. Contrary to the above findings with respect to the' increasing use of on-beat concords, this increasing use of off-best dissonance ss a divis ive factor between the tenor and the upper ", voices indicates a growing differentiation of the voices and a diminishing 1 1 coneern for a harmonious or sonorous blend of the motet voices. Furthermore, this increase ~n'"bff-best dissonance, in conjunct10n with the decrease in ", , the use of on-beat dissonance and consonant fourths and thirds, enSUres • 1 \ 64 This conclusion counters Sanders' gel;1eralization mentioned above, that the thirteenth-century mote~ aims for individuation of the voices. 65See the Appendix for details pertaining only to the first six' beats of every measure. 66167 mu1tipl1ed by 1.5, to correct for the' difference in measures. ' , 1 1 67167 (motetus) plus 361 (triplum.), multiplied by 1.5, and divided by twO to adjust for discrepancies between the ear1y and late motets, in' l1U1Dbers of measU:tes and voiees. 40 1 ~1 ,J ,, () that a linear interplay of a.lternating consonant and dissonant chords increases through the century. 1 The early, thirteenth-century cadences exhibit a variety of approaches to the final unison, octave, or fifth, whereas the later cadence,s have ; l, solidified into a formu1aic regularity. The early, thirteenth-century " Montpel11e~ motets cadence, 1n decreasing numerica1' arder, from the 1 . ) intetval of a third ta un1son (6), from asfxth to an octave (3), fram a 68 - third to a fifth (3), from an octave to a fifth (1). The later motets cadence invariab1y fram a sixth and a third to an octave and a fifth. The tenor and the upper voices, then, are increasingly distinguished from one another by the constant use of the dissonant suth on the penultimate chord " in the Petranian-like motets, while 'the ear1y motets more often than not 69 approach the final chord with consonance. An interesting linear uniformity ls found in cadences at the end ..of the thirteenth century, which supports Anselm Hughes' cantentian·regarding motets ,that "Ideas of me1ady, not considerations of harmony, for a long time 70 ~ dominated the closes." The typical, 1ater thirteenth-century cadence incorpolia tes the two mas t usual approaches to cadences of the ear1y, 71 thirteenth century. Six a~/ the thirteen aar1y motets cadence in either J 68 See Mo 181, 183, 187, 193, 209, 248; Mo 186, 203, 249; Mo 191, . 232, 252; MO 225. 69Qnly Mo 186, 203, and 249 have a dissonant suth on the penultimate beat. 7°Anselm aughes, Barly Medieval Music, up ta 1300. London: Oxford o -University Press, 1954, p. 389. 71 These later cadences, and the early ones which they incorpora te are shown in the Appendix. , , 41 ~ ~ l t '," 10 ' ' • ..J.._~ J"_"_' __ -'-'_'_--.;'-- ___•• .:...' __._.- ___._~',:_(' _.~;...., __ :~z_"'..;...:j~;_,~~_'~ .. ..:...~: ,_;:;~_'.'-,! <:!,....;C., ,~.,l ~~~~-'-" _ L~ 1 1,,' 72 of 1:WO ways,. the tenor descending: >\1 \. (j, (fvA~ - .,. - (~ - ~ . l' - 4-- f • 0 or '...D .. The 'later 1IIOtets use the firet ------:t 1.- -- .1.. ~---- -,.- ~ type in the trip1um, the second in the motetus.: 73 (4~.fv~ - 4°- ~. At 2°------1° the same time, however, the 1ater archetypa1 cadence 1s distinguished from 74 the unincorporated ear1y cadences. In the remaining seven eady motets, a11 cadences have ascending tenors except for that of Mo 193, whereas the , ' 1 tenor 19 invariab1y descending in the later Petronian-like motets. Against the uniformly descending tenor the later cadences constantly place a s tarkly eontrasting, ascending melodie cons truc t • Howe~er, whUe the early cadences, in whieh the tenor may be ascending or desCending, seemingli intend te contrast the tenor and the upper voiee by means of contrary . i motion, paralle1 or oblique motion predo~inates at· the close untU the 75 Iast possible moment in many early motets. The diversity of linear approaches to the final ehord in the early motets tends to obscure the intended opposition which became clearer in the later candences because of the uniformity of their treatment. Thus, thirteenth-century cadences, by 72See MO 186, 203, and 249 which cadence from a sixth on the penultimate beat to a final octave and Mo 191, 232, and 252 which cadence from a third tà a fifth. one of seven later motets has a exceptionsl cadence: 8°_____ 73'oru.. 4 - l' 6-- (~ - 1/'- l' 2°------~ Mo 299. 74Six early Montpellier motets (Mo 181, 183, 187, 193, 209, and 248) <... (1\2\:1) - t-- (~ - t- .,-- ~- .~ cadence from a third to unison as follows: .,. __ (~ ____. tand -,0_ 10 is the cadential form of one oddity, Mo 225 which cadences from an octave to a fifth/. 'j 0 75See Mo 191, 193, 209, 232, 249, and 252. 42 .: showiùg an increasing melodic probity, contribute to an increasing o individuation of the voices through the cen tu ry • The anonymous thirteenth-century French Tractatus de Discantu from St. Victor, which Finn Mathiassen dates as c. 1280,76 prohibits the use of consecutive perfect intervals: And one should on no accoutt( have tWQ fifths or two octaves one after the other, dsmg or falling rlth the tenor, for they are perfect intervals: but one may quite weIl rise or fall two or three notes, or more if need be, by way of the~ 1 imperfect concords, the thirds or sixths. 77 In the selected, early motets, the~e are twenty-two consecutive fifths and twenty consecutive octaves, whereas in the later motets .there are &nly ~ " 78 eight consecutive fifths and three consecutive octaves. Furthermor~, the number of consecutive fourthe is reduced from ten in the early motets to zero in the la ter. 79 The significant decrease from the early to the late, (i thirteenth-century motets in the use of consecutive, perfect iq.tervals j f 80 between the teno'r and the motetus sugges;s that the voices- are being If treated le •• as merely parallel entitie., and more a. independent ~~' . 1 as the thirteenth century progresses. 1 Throughout the thirteenth century, the motetus and tenor b 1 1 76 Finn Mathiassen, The Style of the Esr1y Motet (c. 1200-1250): ~. An Investigation of the 01d Corpus of the MOntpellier Manuscript. CopéUhQgen: "Dan Fog Musikforlag, 1966, p. 31. 77 Trans1ated in Hughe~, Early Medieval Music, p. 387. 78The later figures have beeu multiplied by 1.5 in order t~ correct the discrepancy in the number of measures ;n the ~arly (267 measures) and the late (184 measures) representative motets. 79 The specifie examples of consecutive perfect intervals ~y be seen () in the Appendix. 80 The relatively new triplum, on the contrary, 1s full of consecutive intervals which parallels the tenor motion: fifty-four consecutive fiftha, octaves, and fou~ths. 43 ______~~- ...... ---- ...... ~ ...... ltt ~ f " , -, increasingly discrete with respect ta voiee:'crossing. This feature oecurs o· in the early moiets between the motetus arld tenor in fifty-four measures, , 81 but only in forty-one measures of the late mote ts. The dim:l.nishing 1nterpenetration of motetus and tenor e9tablishes a grow1ng independenee of the two voiee ranges, wh1ch' 19 relnforced by a close relationship being 1 established between the motetus and triplum in contrast ta the tenor, in the second half of the eentury when the third voiee 1s reintrodueed into 't the motet. The notion that the motetus and triplum were treated as a unit of shared charaetedstics contrasting with the tenor ls strengthened by the, linear considerations ~t there is voice-cross1ng between the triplum and the motetus more often than not and the trlplum rarely intrudes into h . the domain of the tenor. By the end of the century, the tenor and motetus no longer share the 8ame musical space. This is not necessarily a result of the motetus traditionally being pitched a fifth above the tenor, and the 1. 1 triplum an octave above, for the range of the motetus of Mo 249 la only a fifth above the tenor, but there are no instances of voice-crossing. Sinee the triplum and motetus are increasingly associated through voice-crossing, • t i the motetus and tenor are lncreasingiy differentiated through the century. 1 . "Polylinguality" a1so serves to differentiate the two upper voices 1 from the tenot'. With two exceptions, Mo 264 and Mo 289, the motetus and trip1um together are distinct frOID the tenor in terms of language: the two upper vo1ees are in French, while the untexted tenor 1s either 8lTwenty-seven measures of voice-crossing are multipl1ed by 1.5 sinee there are 267 measures in the ear1y motets and 184 in the late. , 82 . See Mo 264, measure two and Mo 298, measure five for the ooly twp () occurrences in the late. thirteenth-century, Montpellier motets, bath of which have Latin motet!. 44 " " t ,.j: • L- 83 o instrumentally performed or ia executed melismat:i.cally on the appropria te Latin vowel of its Notre Dame sourc~-clausula. Although the selected, early motets also have a newly:...composed motetu! in French which contrasts with the ~obable instrumental perfo~nce of the tènor. the additional _ vo-ice in French in the later motets doubles the intensity of the "language" differenee between the motetus and tenor. Thereby, there 1s an increased tension at the "end of the century between the upper voices and the tenor in terma of language, as opposed to the early thirteenth-century 1 textual contrast of motetus and tenor-alone. After the Petronian-like 1 ( ',j motets. there is a secularization of the tenor and a relatinization of the motet,_ but these éhanges are -beyond this period of study, the thirteenth century. 84 During the thirteenth century, the motetus 1s increasingly differentiated from the tenor with respect to the size of leaps that each executes. Ignoring the leaps across rests and stepwi.se motion, and allowing thirds to be the s~andard against which larger leaps are measured, in the early motets, 16% of the leaps are larger than a third, while in the later, 27% of the leaps are larger.than a third. Thus, the motetus, towards the end of the century, is approaching the behaviour of the triplum, . ! 71% of whose wide lea'ps are larger than a third. Thereby, the motetus ,L is becoming liberated from the tenor, whose motion i8 primarlly conjunct , l , 1 83Sanders, ''The Medieval Motet", p. 533 points out that Handschin fêlt the tenor may have been regarded as dispensable, aince the first of the motets for two voices in W2 is illuminated by a miniature showing on1y one persan ~sin8ing from a musical manuscript. Apart from this extreme position, it may at least be eoncluded from the illumination that the tenor was not sung. 84 (> In fascicl.es VII and VIII there are twenty-five out of eighty-nine motets with Frenc~ tenors, eighteen of which are borrowed from the trouvilre's monodie repertoire of chansons, verelais, or rondeaux:, and twenty-seven with Latin moteti. ' 45 1 • _ " " . and in thirds, being based on Gregorian chant., Mo 191, in E~ple_1 on /' () page 47 i9 partieularly Ulustrative' of the early interrelationship of the ~ motetus and tenor since both voiees repeatedly present, som.ewhat motivically and almost always in the sl1IIle pitch, the third, to the exclusion of, other 85 intervals. S1milarly, Mo 225, in Example 2 on page ,48 extends the motivic " C> use of the third to a triad. Measure nine, just prior to çhe commencement 1 ,J of the 'second tenar, reveals the harmonie genetiis of the motet: the. 'l' .. ~ 1 motetus and tenor together execute alternate1y D-F-A and C-E-G triads. Mo 253, by Petrus de Cruee, espeeially exemplifies. the other extremeop. of , - 1 ~ the motetus executing four sevenths and one octave, whi!e the tenor never leaps beyond. a fifth. Althaugh there are a significant humber. of thirds in 'both the early and late motets, the tenoency through the çentury is \ ï , 86 towards larger leaps. 1 - i1 As the thirteenth century progresses, the motetus also becomes l 1 independent of the tenor with regard ta phrasing. In the early motets, the motetua and tenor have fifty-four coincident rests. This figure is. 87 . greatly reduced to twenty-one coincident rests by the end of the' centur)t, , wben the phrasing in a11. three voiees ia predominantly staggeted. Table 2, , on pages 49 and 50 depicts the decreasing alignment of the motetus and 1 1 " 1 tenor phrases from early thirteenth-<:entury, Montpellier motets to late ones, 85 1 Perhaps Webern was famlliar with this motet,.. in spite of ,his focu~ upon Isaac? 1 1/ 86There are 252 linear thirds in the mqtet.us and t.enor of the early. motets an~ 214 linear thirds in the triplum, motetus, and tenor of the latè motets. 87 '- Fourteen mul tiplied by 1.5. C) " 46 - ---~------:_-, 1 1 1 Examp~e 1. Early Affiliation of Motetusy and Tenor , \ (J through Thirde. J r- 1 , 1! J 1 J 191 M - 1oI.2J8 t ,-\ 1 .! fc- tes de par son a· mi 7. ceJ)chanl ci, g que dl en fran~ois: 9 A il men-rois 10. ne m'en re-vois l3_ja pour es- loin-gne-ment; se / 0' -', 1 47 ·1 • 1 l' , " il . / .. 1 ~ 1 Example 2. Ear1y Affliiation of Motetua and Tenor ... through Triade. 225 ( , 48 \ 5. , , , , , TABLE 2 < f - . EARLY AND LATE THÙlTEENTH-èBUTURY PHRASING 'j' Emy ., . ,,0, .", . Mo 181 1, III Il 1111 , Il,11 Il ~ ,II Mo 183 11111111111111. III " ., J Mo 186 . 111'''''111111'''' " l ' . L - 'M:o 187 , 1 1 Mo 191 , Mo 193 11111111 H, 1,11,111 1 Mo 203 ", illllllrilIII,111 1 Mo 209 1 1 1 1 1 1 r 1 1 Il J ' ' ,1 Mo 225 1 1 1 Il 1 1 1 1 Il 1 1 1 1 , 1· 1 1 1 \ - 1 l Mo 23.2 - l' 1 '1 1 " 1 1 1 1 1 1 Il Id L Mo 29;8 1 - Mo 249 1 1:0 1111 11 Il 'fi "l,il 1111111111 .. , ", 0 . ,Mo !d52 " " . 1 1 1 1 1 1 • . .!''',. -' , " " " \ 49 ,AI ------~ - -, .- , . , , ! ' . . ~ TABLE 2 - Continued . , , . EABLY AND LATE THIRTEEN~B-CENTURY PHRASING, LAT~ () l 1, : Il Il Il III I ,1 ,1 ,1 r III 1 1 . ! 1 1 1 1 1 1 1 1 1 1 1 r 1111 Mo 298 Il : 1 11 . r[ 1 Iii 1 1 1 l ,J ~i/ ... , ,Î 1 1 . ! • 1 '.- -.,,;1a as well as indicating the minimal correspondence of triplum and tenor o phrases (eight,occurrences). Furthermore, the triplum phrases are congruent with those of the motetus in only three instances.88 The late thirteenth- century propensity towards o~erlapping phrases, as opposed ta the earlier eonductus motets' phrasal,sy.œmetry, alludes to an increasing individuation of the motetus and tenor which was to be fully realized in the Ars nova • 89 1 periode Thus, the dverlapp~ng phrases i~- the upper voices of the late thirteenth-century motets contribute a continuity to the motet which " . contrasts with the disruption by frequent rests in the tenor. / With the exception of Mo 248, which consists of tao few meaSures for anything but the one-measure immed!ate repetition of measures two and three, all the early ,thirteenth-century motet~ give eVidence,of segmented forms through the judicious repetition of melodic phrases in the motetus of one ta six 90 ~ measures length. The melodic repetition, usually occurring in the standard first- or second modal patterns,· i8 of small figures of generally three notes, wh~chmay be extended,--- ornamented, or varied as in ,Mo 232 where the arched profile of 'the opening five-note melodic figure is extended to five measures ~ in the final repetition. Often, the three-note figures or their melodic o 88 According to Saqders, ''The Medieval Motet", p. 559 the feature of avoiding coincident rests,. which became an "irrefragable principle" of motet 'composition, had its inception in the last quarter of the thirteenth century. 89See for example, Machaut's motet, ''Puis que la douce rou'see", in Friedrich Ludwig (ed.),. Guillaume de Machaut. Musikalische Werke. Vol. III. Leipzig: Breitkopf & Hirtel Musikverlag, c. 1954. 9QSee the Appendix for specifie repetitions in the early motets. o 51 " ------f ,.------'~!':-... 1 1 extensioDs'(scalar or frc~ed) ,function as a head-motif, such that various f Cl forma! sections begin ""with that figure. 91 Frequently, the tenor- activity at the opening of a fo~' segment melodically reinforces the motion of t~e motetus, either with the-same-three-note figure inverted. . or with anoth~r sPaple me10dic c1iché,92 Voice-crossing is often the resu1t of such a juxtaposition. The repetitions often generate motets entés in which the opening and. conclusion of the motet are eomposed of the same' or a similar 93 phrase. The form of such motets is aba. -Frequent1y, the placement of such me10die motifs creates centi motets in which' there are refrain chains. 94 The form of these motets is aaa... Th,e three-note figures also appear in both the tenor and the motetus other than as a factor of design. On the other band, none of the 1ater thirteenth-ee~tury moteti, through repetition, exhibit a formal approximation to the'tenor construction which throughout the thirteenth century was increasingly shaped with at least one . 95 tenor repetition. Rather, a melodie eontinuity eharacterizea both the 91 . For example, the sections of Mo 193 open with a three-note figure a1one~ the sections of Mo 232 have the three-note figure incorporated in a longer passage which 1s repeated at the beginning of each formal section. Mo 203 is most unusua1 in that each section cadences with the "head-motif". 92 . A simple figure in contrary motion to that in the motetus opens all ~ ! 1 the tenors, except those of Mo 225, 248, and 249. ! 93Mo 181, 191, and 209 are motets entés. 94Tisch1er uses the phrase centi motets in the above sense in "The Evolution of Form in the Earliest Motets," Acta Musicologiea, Vol. XXXI (1959): pp. 86-90. Mo 187, 193, 203, 225, 232, and 249 are centi motets. Mo 183 ia a modified cellti motet with an aabb form in both parts. The form of ,Mo 186 is aab and tiii'tof'"Më)252 is baa. ' 95The early Mo 187, 193, and 209 have no tenor repetitious, while () a11 the later motets repeat the tenor. 52 j \ d d motetus and triplum in contradistinction to the customarily reeurre'llc, o later tenor; neither employs repetition except as incidental punetuation or , ornament ta the basic fluidity of the melodie phrases. 96 8y the end' of the century~ the early, seetion-defining, three-note figure has become a frequently and randomly repeated, descending melismatic triplet in all the , " moteti exeept those of Mo 264 and 289, and in all the tripla exeept that of MO 264. Additionally, al~ the tripla except that of Mo 289 contain sYllabieated, three-note figures w~ieh are without formaI significance. There is nothing comparable to these melodic figures in any of the later tenors in terms of morphology, duration, or frequeney of occurrence. Thus, with respect to melodie repetitions, the motetus through the thirteenth century becomes increasingly distinct from the tenor and aligns itself more with the triplum. At the end of the century, the motetus and tenor no longer abare melodic figures; the', interplay of melodie figures is now between the 1 motetus and the triplum. Similarly, melodie repetition no longer structures 1 1 the motet sinee the tenor, which at the end of the century fs customari1y \ 11" repeated, bas beeome more· of an accompaniment to the virtuostic upper voices i in whieh significant melodie recurrences are lacking. With respect to the textual treatment of the voices in the Montpellier motets, Ti'sehler contends that: 1 i • f 1 In the old corpus the meter and versification of the poems 1 ar~ usually carefully eoordinated with the music. The poetic structure often,shows artisti~ finess~ and symmetry. 'The rhymes fall on metrically stressed final notes of musical phrases. Howe:ver, 'recurrent rhyme sy1lables and musical repeats are normally independent of each other, with musical 96 o See the Appendix for late, three-note figures. 53 , " ------~------~--~~~----~------~._-~~. ------ r~ts being far less systemat1c and much lesa frequent o than recurrent rhyme syllables.97 . The rhyme.,llchemes of the early motets coordinate quite well with the forma ;,' of the -centi motets and. the motets -entés established above on the bas1s of 98 each phrase being introduced by a recurrent melodie motif. The symmetry '''-d of form and rhyme-scl:aeme in the moteti may be seen in Table 3 on pages 55 1 ,) ,1 1 ,and 56 where the first horizontal line represents the poetic rhymes~ and the second, the number of syllables between rests and suspiria, and the r third, the melodically estab11shed form. Mo 209, a!!2lli. enté exhibits a high degree of poetic regularity with alternat1ng ie and er line endings -- -- r and isometric syllabification. Each formaI section is concluded'with the !!. rhyme while ie ia used consistently as an internaI rhyme. Similarly, , the rhyme schemes of the early centi motets, Mo 187, 193, 203, 225, and 1· , 1 249 correspond well with their ntelodically generated forma. Mo 187 is highly regularized with seven syllable !ines, and has a rather compiex rhyme scheme: ir ai - ai - ir ir - ai - ai - ir 1 • ir - ai - ir - ai ir - ir - a1 - 'ir ir - ir -ai. However, it may be understood as reinforc1ng the form of the motet on two 1 l levels: preceding a formaI s~gment, !l.. i.ljI "used where rests in both the 1 motetus and tenor coincide and ir 18 used where a ~est ia in either the . " j' tenor or the motetusj internal'rhymes are various combinations of the two rhymes. Since fifteen of the poetically and melodically established 91Tischler, ~e MOntpellier Codex, pp. xxxii-xxxiv. j. 1 () 98 Contrary to Tischler's above contention, recurrent .rhyme syllables ) and musiéal repeats are ~ greatly independent of each other. 54 :' TABLE ,3 , ' c\ V BHIME SCHEMES OF MOTETS ENTES " ,e- le-"" '::1 'i Mo 181 ! 1 Il 1 ~ A ~ • " 1 ~' ''-f l~i' ' If ~ ~ t'e- ~OI!,·-" \'M ot~"'O\fI.~~('A1{'·MI'1 ~-r .~ ~ Mo 191 , t 1 II Il ~ ~I ~'1- IQ 1 ;-, pp A ~c. -'. f>'. A (} ..l ft" 1::' Il/ I~ I~ MO,c:09 - I~ !? I~ ;'Î \~ A ~. V ? .. " s, TABLE 3 - Continued l,' o RHnŒ' SCHEMES OF CENT! MOTETS ~t; Mo 183 ) ,.'il l l' i 1 , ' ! :{I l' .;f~ -,1 1 ~ Ir" Mo 1~7 ,t 1 14- A . \ \ Mo 193 , 1 i Tf -'j p, '. ... ~ .. 4.. /' 't-d Mo ~O3 Mo 225 I~ :c- I~ 10/ 1 ~~ l/:" 1 ~ Il l'/; ,r/(J ~ -( , 'i, ..j0' .J~ 1. 1 1 lj~O 232 1 -1' i'l" W P- p., -t fi' ~ . ~ ~ , • Mo 249 I~ 171 I~ PI -1. ~ ( tJ 11/ 1 1- 1 ~ -1' -- . "" ~, ~- A - .A ~ 56 .. ~--- 99 forma! segments are preceded by a corresponding, rest in the tenar, it () ia evident that in the early motets, both the untexted tenor and the highly controlled poetry of the motetus contribute mutua1ly and synchronously ~o the creation of forma In the later motets on t3r other band, because of the few coincident rests between the motetus and tenor relative ta the length of the later 100 motets, "overall symmetr~ plays no role." However, there is a delightful, althoughtrhythmically irregular, interplay of rhyme endings between the later moteti and tripla. This rhyming 1nterpla~ may have-been discernible because of the frequent use in these particular motets of a single rhyme in each of the moteti and tripla, although the tripla are more uniformly rhyming than - 101 the moteti. The upper voices of the later motets exhibit an asymmetrical, poetic counterpoint that is simultaneously repetitions -- because of the si~ rhyme in the triplum and a contrasting rhyme in the motetus -- and 1 syncopated -- because of the lack of straightforward alternation between the ,1 rhymes of the triplum and the motetus. 99Rests which are coincfdent in both motetus and tenor are indicated with a double vertical l~ne; non-coincident rests are indicated with a s~ngle vertical line; suspiria are indicated with a comma above a single vertical line in Table 3 on pages 55 and 56. , 100 Tischler, the Montpell,ier Codex, p. xxxiv. In the same place, Tischler con tends that in Fascicles VII and VIII rhymes occur at irre8~lar intervals and often fall on,unaccented notes in mid-phrase, and line lengths differ widely. This, however, iSEot yet the case with the Petronian-like ~tets that subdivide the breiTfs into more than three semibreves in the triplum alone. Most of the lines in the later moteti under consideration are isometric: Mo 255 consists of ten-syllable linas; Mo 264 consists of seven-syllable lines; Mo 298 consists of sixteen-syllable' lines; Mo 299 consists primarily of ten-syllable lines. 1 () '- 1 1 1QlSee Table 4 on page 58 or better, speak it aloud. ... TABLE 4 o INTERPLAY OF RHlMES IN UPPER VOlCES OF LATER MOTETS Mo 254 Mo 26 ! '1. 110289 .... _ •••• - t,(J cm1 1" um 10 II!> ....~ llil 10' I~ um 1 1 ( Mo 298 • Mo 299. t-r ~~ Il ~ trll Il f:/('._II o ____ 1 \ 1 I~ .\~ _ ! 58 '1 . ". ' "1. , • , , ,. , , !' (:~, ~ ."';.. ,1 , Rhythmically, the early thitteenth-eentury Montpellier motets () manifest a modal consistency between their two volces which tends to 102 lntegrate them., With the exception of Mo 248, in which there 1s a greater 103 / modal diacrepancy between the two voices, the moteti and tenors of Mo 183, j. -- 187, 191, 225, and 232 reveàl an underlying first mode. In both voices of -r 1 Mo 181, 186, 193, 203, 209, and 249 the basic rhythm of the second mode la , indicated. Bath the motetus and tenor of Mo 252 are in the fifth mode. j , l Although the appropriate ~hythmic mode prevails in aIl the early moteti. \ 1 the strict1y modal patterns are decorated, embelli shed , and extended by \ 1 ,1 . l~ . 1 means of fractio ~. The long-brevis of the first mode may appear as ••• or ~ •• or •••• or~"., but in al! cases the syllabification of the 1 texts ensures a first~de macro-rhythm that corresponds with the modality j i of the tenors. Similarly, the brevis-1ong of the second moue may be 1 expanded to ••• or .... or ••••• or •••• or ...... but again, the J\ placement of the syllab1es indicates a rhythm which is still that of the tenor. moda1ity of the c. 1215-1240 tenors i8 expanded through 1, Likewis~~the '( extensio ~105 so that the first mode rhythmic unit of ~ .... may be 102According to Franco, as trana1ated in Strunk, Source Readings, p. 141, mode ia the knowledge of sound measured by long and short time intervala. In the early motets, the long and the brevis are arranged within the framework of a perfectio according to certain standard patterns '\ or rhythmic modes. l03The tenor 1s in the fifth mode, the motetus in the fourth. 104With fractio ~ a long becomes two bre~es or a brevis becoJDes" two semibrevea. l05With extena10 modi a brevis la omitted, generally at the end of c) an ordo. 59 L __ _ ( . " ,~": }'~, ;'~ '" - '/.<,~t{:~\:, "'. ';1~,<, ,,7"::~r,:: J: ':n;::~:, ,;\. , _.~~~'f:'"'· ~~~mr~::.:", ;r ~ ) -, z altered to 11 ... and the second mode unit of.". Il altered ta "'" • l' ,. , 10 . Disregarding tbe ostinato of the reiterated modal patterns of the 1 tenors of Mo ,181, 187, 209, 248, and '252, aa incipient isorhytJ:un la evident '. 106'" . in the early Montpellier tenors.· Often a non-coincident color and talea occurs as a result of the chant fragment not being exactly divisible by the ! \ 107 . number of notes in the ,tal-.a. MO 191, which is ent1rely in the first mode ...ept for ti.e extens1, ~ "ritardando" in the final tbree_te ligature, has ten taleae of fift~en breves each. The taleae coincide with' the first and third tenor colores but nôt with the second and fourth. As a result, there are four tenor presentations which alternate two rhythms. The second color of the tenor of Mo 232 is changed to the fifth mode from the first' mode that prevails in the first haH of the motet and in the motetus alone . , in the second balf. The $econd mode Mo ·249 has an entirely diffetent rhythmic formulation for its single tenor repetition. Rhythmtc formulae, J which are composites the appropriate mode and exteD8io'modi, are repeated on . -- 1 in the remainder of the early tenors. Mo 186, 193, and 203 reiterate a \ ! ' !ive-note unit of three breves and two longs or -two longs ancf three breves. 1 1 Mo 1 186, in addition to two tenar colores, has a different tenor tnelody as ,1 . 108 a conclusion. This motet exhibits the five-note talea throughout, but conc1udes with the isochronous longs of the fiftl\ mode. Mo 193 also has a reiterated, five-note talea but does not melodically repeat its tenor, so a non-coincidence of color and talea does not emerge in this motet. The 106 See Table 5 on page 61 for early tenor taleae., ~ 107See the Appendix f or r h y thmi crepe titions. , 108 The Gradual itself, from which the tenor is borrowed, has the o internal melodic~epetition, as may be seen in The Liber Usûal1S, Tournai: Desclie .\ Co., 1950, p. 179. 60 1 • ) i '. -:}, • .. I~' , ~t'), /' ' 1'A'BL~ 5 TENOR , EâRlY TALEAI '" " . Mo 191 ( ,. "" Mo 2' . lit ,.. • • ., . \~ .. "~3 ~" ~ Y" ~ ., ., ~ ., ,;. .. / . M0"249 • ,t J" l ' " • Mo 186 --i',.y. .. .-./.,.,., ., ., ., V .! Mo 193 '~;i"'/ 1 M,o 203 . * Mo 183' t4;1'r-~, i Mo 225 . .,~ ,,/""- ;j' " , , r ! ., 1 ,tl , 1 " . 7 ~ ~ Q '\ ~T~e Mont~ellier me.n.usoript ,h~s a long, rest .between the two breves which Tisehler repiac"es in his . transcription , . ' ) . .w~t9 the ,note E, tak~n trom other s~uroes. ' " • " • ~tl , " ',61' • ~------T------~------~------o " , , , , ------i • 109 five-note t~lea coneurs with bath tenor presentations. in Mo 203 and c) . follow8 through in~o the additional tenbr melody to suggest a rudimentary non-coincidenee of talea and color that beeame standard.in the motets of j Î Machaut ~ 110 The tenor of Mo 183 exposes the melisma "Ferens t'r twice and r then the melisma ~'~ondet'a" tw~ce. Since the recurrent, eleven.;.note.. talea , ~ begins and enps with each eXposure, and since there are two different tenor melodies, Mo 183 expresse~ a primitive non-coincidence of talea an~, \ color. The'tenor of ~ 225 is rhythmically the most complex. of the early, thirteenth-fentury motets. There are two tenor melodies, each of whieh is presente~twiee. Through aIl four,colores is a tourteen-note talea which j' nowhere coincides with a start of a' color'. Since these instances of isoperiodicity and the non-coincidence of the tenor talea and color are found in the early motets wirOln the context of an is6metric, modally \ consistent tenor and motetus, the two voices are notvg~eatly differentiated rhythmically at the start of the century. However, ,in the .J,.ater, Petronian-l1ke motets, following Franco' s me~8ural reform, eacp of the three voices 1s rhythmically independent, III ' ~ince only vestiges of modal1ty remain. Further to their independence. t~ tenor is nec•••• ruy~ in -the e.rly motets in order to l09The GraduaI itself, from which the tenor 1s borrowd, has the internaI melo4ic repetit1on, as may be seen in The L'ber Usualis, p. 779. 110 • Seven of Machaut's twenty-three motets have a non-coincident color and talea. 111 According to Franco, as translated in Strunk, Source ReadinSs, p. 140, mensurable music is melody measured by long and ,short time intervals. Al though this definitioq.. ia s01llewhat .a1milar to his definition of modal () music, the distinction.of the later mensuraI motets iSr that" they need , '- not adhere to .the standard modal patterns in the succession of ~ongs ~d, breves. 62 .1 :" H.-_-~v-:, ct fJfS:;,~!t~~;:_E.:.":~", i 1 • . 112 accommodate the rapid declamatiou in the triplum. Tle triplum of Mo 253 o 8ubdivides the brevis into four equal semibreves in six places. The motetus, with 1ts frequent ornamental triplets, underil1ines 1ts macro- rhythm of the first mode, and at one point clashes ~ith the four semibreves " ll3 tloin the triplum. The tenor executes a form of 4im1nution, ainee it 18 Il patterned in groups of three isochronous longs until its second melodie presentation.where the repeated rhythmic pattern ia 10ng-breVi~ng-brevis- long. The Petronia~ triplum of MO 254 subdivides the brevis into five, six, or seven syllab1cated semibreves. Th~ motetua executeà several ornamental, , aem1breve triplets which are, however, placed co~patibly against the six 8em~breves of the triplum. Diminution occurs again in this te~or sinee " the reeurrent tenoroordo consists of three longs but the rest is iliminateq 114 in the second meladie presentation. The triplum of Mo 255, ia Franconian ,. in the Montpellier manuscript, subdividing the brevis ~nto oo1y three semibreves but 1s Petronian in the somewhat latet Turin manuscript, 8ubdividing the brevis in.co four equal semibreves. The motetus obscures the underlying first mode w1th fractio mod1 and many ornamental triplets. ~ , The tenQr in the fifth mode is rhYthmiC1lY unpai:te~ned so ~hat ~t its .. second melodic presentation, color and talea necessarily coinc1de. The 112 Accord1ngly, 1n Tischler's transcriptions th~ 16ng of the early' motets 1s transcribed as a simple or dotted quarter-note, and the long of the later motets 1s transcribed as a simple or dotted half-note. 113sanders,' ''nie Medieval Motet", p. 513 tells that~'''even diminution 18 already one. of the dévices in Perotinus' s technical ar~enal". • r' 1 114rn transcription, the reduetion 1s from e1ghteen measures to twelve. () 63 1 ,1 ' >-1 1 " , / triplum of Mo 264 i8 the most àtylistically progressive aspect of this motet since it subdivides the brevis into five or six semibreves to which syllables are put, and indulges in a semibreve coloratura in measure two of i Tischlere'g transcription. The motetus, with its mora11zations upon the eonduet of life which will lead to heavenly recompénse, 1s more eotiservative 1 sinee rhythmieally it is in the second mode and lacks ornamental ~lets. J, \~/-/ Th'ere are two rhythmical,ly 1dentical tenot colores, sinee the tenol' f- consists of unpatterned, isochronous longs. The tr1plum of Mo 289 frequently I, subdivides the brev1s syllabically into four, five, or six semibreves. ! i Th~ motetus is entirely free of any modal constraints, although it does li conta1n a small rhythmie pattern, ., "--III that reeurs six times at t 1 irregular intervals, approximating is07hythm. The tenor has three melodie expositions and three reeurrent t&leae" (1. ... ~/.,.,"I 2 ....", III" 3 • .. / none of which c01ncide at any point. The triplum of Mo 298, .,~ ~/) .. in one ïnstance replaces the brevis by four melismatically executed semibreves. 115 The firat mode of the motetus is frequently fractured and contains many disruptive conjunctura. Th~re are two tenor colores and the beginning of a third which nowhere coincide with the 'tenor talea of . 116 Mo 298 Chat 1s for the most pa):'t 1soperiodic. The triplum of Mo 299 subdiv1des the brevis into four syllabieated semibreves in nine separa te l15Rokseth, Polyphonies, Vol. IV, p. 80 considers Mo 298 ta be similar ta the style of the two known Petronian motets, Mo 253 and 254, in spice pf the laek of the Petron1an hallmark of multiple, syllabieated semibreves. Four melismatic semibreves also oc CUl' in the triplum of Mo 40 as early as Fascicle III, although this is most likely a seribal error. Although Rokseth may be thinking inclusively, on p. 79 of Polyphonies, Mo 298 is contradictorily held to be exemplary of the pre-Petronian subdivision of the brevis into no more than three semibreves. -Hans Tisehler does not () include MO 298 (nor Mo 255 which is Petronian ouly in the Turin manuscript) amang the Petronian-like ~tets. 64 places. The first mode of --the motetus 1s difficult to discern because of ./ fract10 modi, extensio modi. and frequent ornamental triplets. There are two tenor colores with ~~lar rhytbmic treatments s1nce the tenor 18 in isochronous longs. In SUIIl,' tbe c. 1260-1300 Petron1an-like motets exhibit a rhythmic disparity in the three voices: -the ·trip1um typically subdivides the brevis 1nto more than three-~ semibreves and the rather mel1smatic motetus obscures the underlying mode with fract10 --mod1 and ornam~ntal triplets; the mode of the motetus does not correspond with that of the tenor which in most cases 1s superseded by rhythmic formulae the repetition of 1 whieh is generally eontrived so as ta bring about a non-coineident color and talea. If a recurrent talea i8 not in the tenor, the tenor has reverted ta the isochronous longs of its origins in Gregorian chant, which ~ven more differentlates the tenor from the typieally Petronlan triplum ( 117 ~nd the Franconian motetus. Consequently, there an increasing preoccupation, throughout the thirteenth century, wi h a rhythmic counterpoint ameng the volces that presumes an indepe ence of the volces, while the modal 1ntegration of the voiees 1s graduall obliterated. \ . (J 117 See Table 6 on page 66 for the taleae of the late t~nors. 6S * ~ t_ TABLE 6 LATE mOR ~ALE.AE . Mo 253 1..: 110 254 ., lit" 1{ ·· ., II!" ., ., ., j/ Mo 255 ., ., .. ., ~ ., If '••• . 140 264 .. ~ ~ ., ., ., If ••• Mo 289 l,-t~"i,· 2,-tW.· 3," "W .. Mo 298 "''''''''~''i ·"'~"""~~"i Mo 299 III III .... ~ ~ tt .•• • J., '~J~'~~ • 1 66 . .If; .. .. 1 l' i (> CHAPTER IV ,i CON~USIONS ~ith the exception'of a~ increasing preference for strong·beat consonances, a11 the harmonic aspects of the Montpellier motets explored above contr~bute to an increasing differentiation of the motet voices through the thirteenth century. The increase in a harmonious blend of, voices brought about by a decrease in strong-beat dissonance and an increase in strong-beat fifths, is perhaps counterbalanced by a decrease in the sonority provided by consonant strong-beat fourths and thirds. The increase in discords in off-beat: éircumstances -- two sounds that do not agree with one another -- contributes to an individuation of the volces. The tenor and the upper voices are increasingly differentiated from one another at cadences because of the consistent use of a dissonant sixth on the penult~te beat in late thirteenth-century cadences. An increasing propenslty for a sense of l~nearity also generates disparity amang the voices. Cadences are increasingly a melodic construc:t. The voices are treated less as parallel entities through the reduction of consecutive perfe~~ intervals. The voices are more statified when voice- cross~ng decreases. The untexted-texted contrast of tenor and motetus ie heightened when a French triplum is added. Leaps become larger in the uppér voices, while the tenor retains the essentially conjunct motion of its origins in Gregorian chan't. Coincident rests are greatly reduced, so that ·C) the volces become IDOre independent with respect to phrasing. Melodie repetitions, used as a structural device, are decreasingly shared by motetus 67 :.} f~ i 1 ( and tenor; wi th the reau! t that the increasingly reeuc,rent tenor becomes the ;, sole formative element - a mere melodic accompaniment, often in 1sochronous longs, in contrast ,to tbe. ornamented and lyrical, upper volces. The versification becomes decreasingly schematic and less coordinated with the tenor' s music, while modal consistency, disintegrates into a tripartite rhytb.mic composite that foresbadows. the isorhythmic motets of Machaut. In view of these circUJI!.stances, it is possible to conclude that ? , the thirteenth-ceptury, Montpellier motets exhibit a stylistic progression of an increasing harmonic, linear, and rhythmic disparateness of the "toiees and conseque'ntly, a growth in inner tensio'!l and vital1ty resulting from ' , contrasting elements. By implication, the spirited, ''high'''Gothic'' motets of Machaut -- in which oc~urs a synthesis of early thirteentb-century l' integrated voices and late disparate voices -- were not unprecedented. 1 \ 1 \ l ,1 1 o ,l, 68 " , ,~, , .. ~ APPENDIX Harmonie, L1near, and, Rhythmic Aspects of Earlf a.nd Late Montpellier Motets Strong-beat diss()nances -- seconds, tritones, sixths, sevenths -- whieh are considerably redueed in number through the century, are shown with green. Off-beat dissonances, whlch increase considerably through the century, are indicated with light blue. lt may be seen that the types of dissonances -- passing tones, neighbour tones (complete and incomplete), appogiaturas, anticipations, suspensions. and the resolution of bath melismatic and syllabie dissonances to consonance did not change significantly from the early ta the late motets. Passing tones constitute haH the insta~ces of off-beat dissonances in either the early or late thirteenth-century Montpellier motets " under study. The behaviour of thirds (whlch decrease in use), fifths (whlch increase in use) and fourths (which decrease in use) is nol: shown. Melodically formulaic cadences -- thé earlier of whieh are incorporated 1 in the later -- are indicated in the tenor with light grey. Consecutive ,1 perfeet intervals -- unisons, fourths, fifths, octaves -- which decrease :ln -number from the early ta the late thirte!!nth-century motets, are indieated with dark blue. Repetitions in both the tenor and motetus of l{;;ther extended_ phrases or small melodie figures are numbered. !bree-note lielodic figures or their extensions, both arehed and scalar, functioning as head-motifs or \ 1 ,, appearing mid-phrase in 'the early motets, and appearing as melis1ll4tic or -1 syllabie, ,incidental punctuation in the la ter motets are cross-hatched. ~ Melodie repetition alters through the eentury from a linear, structural clevice shared by the motetuQ and the te~r to. a sporadie and ornamental ) " 69 ~ - .. - -- ~ '~i --:;. \ lI, Il ~ '•• ..t' ~I _, '',\,,,;'l'~ () artifice shared by the motetus and the triplum, leaving the customarily recurrent tenor to melodicàlly shape the motet aIone. v The versification-",i the early motets that 19 generally coordinated '/ ,,- wtth the music and which dissolves in the later motets into an unsystematic interplay of rhymes in the upper voices, is nat shown. The multiple, syllabic subdivision in the tripla of the Petronian-like motets,is indicated with yellow. Recurrent rhythmic formulae ~n both early and late thirteenth- century motets are lettered. The early Montpellier motets, as transcribed by Tischler, 118 are on the following pages: IIt-J Mo 181 ~. 71 Mo 183 p. 72 Mo 186 ·..... p. 73 Mo 187 p. 74 Mo 191 p. 76 Mo 193 ,. .... p. 77 • Mo 203 ·.... p. 78 Mo 209 • •• Il • p. 79 ( Mo 225 p. 80 Mo 232 p~ 81 Mo 248 ·.... p. 82 Mo 249 • ••• tI p. 83 Mo 252 p. 84 The late motets are on the follonna pages: lIf-d Mo 253 p. 85 Mo 254 p. 89 Mo 255 p.'" 92 Mo 264 p. 95 Mo 289 • Il ••• p. 98 \ --./ Mo 298 p. 101 \ Mo 299 ·.... p. 104 " i l18Tischler's transcriptions racher tha~rRokseth's have been used sinee, as Tlschler mentions in his Preface ta The Montpellier Codex, "nearly 'four decades of subsequent research have resulted in the addition of new sources, o suggestions of new solutions for many problems of transcription, and corrections , - of scribal errors Jm~ printers' mistakes." For specific differences in their , . " . ,~ , transcriptions of~te values, bar 11nes, accidentaIs, and Petronian semibreves, 't1schler' s Preface should be consulted. The symbol x in T1schler's transcriptions denotes the pointa in the music where Tischler and Rokseth differ. 70 ".} /'t' - , EARLY M~TETS () Q - 1 t' . ~ ~ 181 1t ~ 1\1 .... 1 M,lB J) ,s l I.Bi~n doit es! Q- més: son tans bien cm- ses 1 T 1, tés e. 3) .: !- ce--ment prie 8, et ras ses grés, donc sui plus tost re, ru - sé. a -' 1 2 voi- e, de coi- e. j' '. -----~-r: J.~, l , " l t n -'. , ) () -18-3 Text by:Ci moine de St. Denis M / 1 1 ra- ge; 1, 1 ~ lFERENS A 1 1 \ 4 ne pui~souf- frir son lrai- rai. tl- rai. 1 j f 2 roi 2)4. l) 1l 1 quant la \'oi.Dells.la be- le. fla] blonde, a li m'a·lroi. [~J 1":\ J) 20 / 1 • i c) " 72 ,1 -L __ ------______~~ __~---~------'-h(~-,;~~~~O~,~.~'~,,.~~ ______~._' ___ ~ , i 1 1 " 1 -1 J t 186 î - r M f 1 101 ;135 J) 1 1 quantla be-le me rait T i -# B 1 l j l'>J 1) 1, 1 rer; ne ne puis en j'a- tên- doi- c. sai, que 1 l j . F D E .! 1 ! (~J 1 1 doi-c, me muet; . mesne puetestre fuer, qu'au-tre. ment 10 de do· lant cuer con-sir· _. i 73 . " ",:'- " TI / l () 1 <1 187 M 1. Fa- ce de moi son plai-sir: En sa mer- ci me 2)me-trai T DOMINO Il - -~---_'L-- . • .. ,:7~:' "?1=_~_- ~ 1 . II - .------Il par· Il' rai, oS se mort nc m'cn fct par-tir de- sir. vi-rpi; 8 des maus, dont me fct ·3 9 qu'e - le me \oe\- le me-rir .'. '. 74 je mor-rai! s'c - le me • nir; bten sai, 16.que sam-bl~t fet de ha- ïr 17.<:n a· mant cou-vrir. me- rai! - Q , " ,, ,' , , " ," ,. 1 • e l' 1 , -) :i 75 ---~------/ • ( \ -191 1) 2 mi f~- tes 6 de par son a- _mi 7. ce))chantci, 8 que di en fi"'an-çOiS:9A li mèn-l'OislO.ne , 1 1 e; U je l'aimtrop, a li m'en-l'O!S t2Si men re-voisI3.ja pour es- loin-gne-m::nt; 1· 11 48 1 ( ( ) • « , -193 1,01.239.) 2) J.Li cler vis bru-ne- T fol !l9 A DOMINO [QUONlAM] 8 c dflô'J ~I,·f /(1 6 en dou- ce pri- son m'ont mi? '1 Car jo- lis s.ler<.c> t02 0 E \, 1 3 ". 1 1 9. tant corn se- rai \1S, JO.pour cc· le, qui m'a con- quis Ir. et sous - pris, 1 r, F G " sé. 1. Sa bw,,- té Nncmi Ici' (1" - rer. ~ • --, 77 -~ _____-_J • '!",& ", 1 '1 !" ", , /' j -203 M 1,,,, l.\4 . 2) : '/ J • Hier JllJÏn jou-er m'cn a~ lai, tous seuz par-mi pre-e cru~-"mJ_ chai. (dm 2) T 1(n~1MO)LATUS J) 8 - A , 3 4) S.gen-te- ment fu (1- ces· me-c, pi. 7. Vers li rro ....oi- E F ·1 1 1 n:lÏ: Il lés li ment blas- me-e: 1 : G H a s:lIlS de- hi / 78• ... llRilI 209 M - LETABITUR J) e, sa.] joi flOU- Mer. (~ , " ',- , .. i ! / 1 79 ,,' ... , " .' /' 225 '..Jl Î M 1 (01.256 1. Sans or-gueil ct sans en -vi - c. 2.par ~n a - jour-nant , 1 T roI 256 1 ((I\fA)TOR] JOHAN(NE) \ B A ( - " / 80 o J ___ , ., 4, lL.,· J"~'h,fi. ,.l -, .. " ! Id" , () "'- \ - 1 232 j - ve-rés car a-mors et 1 . JO e tie - nent mon cuerJ) en dc~· troit. S. Je ne l'ai pas a - ~C' moi,6.rtlon mil • III; r, 1 l' 2 1 re - pre - sen - té, que je Huis sans \i· le- ni • e, Il. sanl mau-vés or-gueit -/ jl )J \ lm - ré, 1 81 1-----1 , " "Îl.' ...... ;... " '1 , l', 0 1 1 ,1 " 1 1 " 248 ,1 - :!1 1 \! l1 ALLELUYA " 1 'I1 ,1 ,t __ 1 1 .r " 1 1 1 l 1 j ! , ,~ , j 82 ... 1 _ ~ .. '------~------~------~~- ---, ( 249 , - 1 1 rendre en 1 2 ~, .! " 5) 71 ner bo- ne pourr,,- lie" en rolZ6$, , 2 7dl 15 4 ont en- vi. e; mes-di sant que qùil en- "oi- mi- 83 , , '--~T ;' f " . ( -252 ~ 4) core; 3. ore en- 1 , , .1 1f 84 .. LATE1:,WTET.S ( .. , 253 ' Music and lexIs by Pierre de la Croix Tt rul.Z10 e- üst point de po- cr. 2 je men de- Us- se re- nou- ve- (ol ::70" J 3 qui lai ~cr-~i- c toutnon \1'vant4 de cuer loi- nu ment; .s mes je croUèai- dier ,. J jo- li tans 2. m'es- tuet corn· men- B B \ a nu- lui nr: va· loir. 7. Pour moi le puis je bien prou-ver li. et sa- ....Qir \Tal- e- (;! ! chan- 'r0n: 1 i c • s 9. En son ,cr- vi - ce mour. vir o 85 ."'1 , , / '- ( • e,COrll-mentnusu-mant l2.pUlQ vÎ\ r~ en {tre-gl1<. ur. ct ~Î x 1 1 ,1 sir- rans, 4. m'cn a dou- né 1 E JO J l4.cuKJai jo-ïcl5.ful!rceai en- du- ré si Jon- gue- ment, 16. mes or , .. oi bien, 1 choi- son. s. Par uns jeus do us j f,~ ~7J F 1 - x (,".~7JY l me pent? ! ml vaut noi- ent; 17 qu'cn puis je \ r,tl.:::-h \ 1 ! , ri- anS ,seur- pris. si l', . de mon scr- vi- n- mé 20<:t de- sir· ré, ne puis p~n s~r ce- l~ .J. . -ç;-;--'--- . ------ 7' .. ) 86 / / .( ;, re· ment, 22. Si m'a-cort bien, 3 C~ qu'en dit 50- v~nt,2Jqu~ li .' a cui Jal. fait d~ moi don; 1 j 1 ~ • J . 1 (o1272 '. 1 1 j " 1 .' - hons..qui lllZl\W:lis sci-gneursert,lUnau- vais a- tent. 25.~e set, qui fait, qui a a- 1 I ("L:1~ ,., Il.tOlnt est 3- .. c- nans, tou- tes au- tres bele ,<>l1n K. W_J_ .J -mer en-prent,)'iCar nus ne po r·roitpen-sel;ZlsÎYeut a-mer salTL a- pent. 29.Ne je ne dout ») L' ct plai- s.'ms Io.ct SI bon re- non, M J mi- e, que ja nit a- mi- e 31. cil. qui en bi~n 3· _ mer en· sanz trar ~lln 87 ' - 1. o . " / ,, _, 15 -lenL • 32 Que p)usest vrais a-mis,D.tantli fI!- ra on pis;~ja po~r pri- er mer- ci 35 n'a- vra a- le- f:!e- loL2T.!v ." /1 a- me- rai, tant J le- rc") vi- vant, ,i ,, toÙ7,2v 1 ,1 j 1 B - C ! , , 1 j r SJ 36. AS- sez puet on do- lou- ser,37, plaindre et plou-rcr et sou~ spi-rer,ll.il n'iert ja· au- tre- l< a- ten- dant le douz guer- re- o E .fO roi 273 sa-. mour dOu"tlcr.lOa hou- me qui làint n'a fa-me nul ta- lent: 101.273 J a finz a- mans, a son \O-t F G pointne la -loir sunt 0- be- (> H - 88 -..-...-.------:---t~-~. i:;" ---,------ ~ .. " f ' ~ ,;.~.- / 254 Mu~ic and lexts by Pierre de la Croix ( - lr _.1- J.Au- cun ont troll- \'é chant pa'r lI-, ge, 2 mes a moi en douDe 0- choi- • i M:!7J J. Lonc tans me sui (,~.:!1J '- que m'e- stuet rai- re ~n: 5 car a-mer me de ter, rai- son roi 21$' B J fait da- me 7. Et je, qui ·Ii ai fait hou-ma-ge Il. de , joj- e me- ner, ..... c ... a- ge9 de loi- al cuer sans pen-ser tra- hi- '10 chan-te- rai, (.J Hl ( boune :1- . mour fait d.:- sir- rer E 89 .~- ----~------. ,. -,-,.--.. ---' . , _~ ~ .... _...... - ...... ,...... -"'Il""'" ...-,...-.-.-...... __*~ ..': ... _ ..... __~ __ ,.,. __ ~ ....._~ ..... ~.--. _ ...... -- ...... _____ ... , un si dOUl h.:-ri- ta- ge, Il que joi- e n-:li sc: (1.: ce non: (o.>l.~7-I • LI. .1; mieus en-. se- gni- e. fon Of r"L~J.I F ~ pen-. se- e, que mon 'CIouz mal m'a- sou- age 13. et fait es- '1 en, tout le tr0u- G lol. Ne pourquantseurmoiouet(;larnen h:TII_ ( li ne doit on nule au- tre fol:!i4v, H .1 , - son. 16 l'-:e ja sc- rai ,ers li mes- pri - son; rr tant set sou- lil- ment .,' \ \ 1 El quant '1 ( com- p:t.- 1 1 1 2 90 • --~----"p -----;---~-- -- .. " ' ( con- tre pUe', on. cors da- me si proi- si- e. 7 que grant de- o 2J gna- ge 20 ne vaut un bou- ton, 21.et si li plaist- de ra- en- ~on pen- set, puis bien son gré, sui pries:!) et , len, fais' ga- ge 23. moncuet",que je met du tout en- a- ban- ver, 9. que mout sa- vou- reu- se JI) • ~) , ci,car van- ta- gt 25ft'ai je ne son. '1 J mer. VI- c. 10 quoi que nu:; die. D..en bien a- l) 91 ...... -...... "..,..._1' ...... "'''t'o'Oj,*"..--...... __''''' __,-,..,.. .. , .. _~._ ..... "" ___...... ,...... _ ...... _ .. ~ ___ • __ ,1 '. 255 ( - l.Jài mis . 3, en-co- re vuel je bien 0- M fol 21Sv tJe je ne chant sou - vent, , i 275. 1 ",nl"U',-,VOCE SONORA OFFERAT PRECONIA CHRISTO EIA) mat sou- frir 7ce- nOIl. l' puis- se de- \"e- 9 tram-bl-rct fre- . mir merait 10 et J 2) (01 :!76 • .1 mours m'a- nuit jour si gric- ment, "- -- , 'Î' Ji B a- mer re- pen- ( .1 n- -- -cr.- 92 -.....-...-..------___~_ . ( ) ,q: , 1 ~ . " de-sir, la fin pour s'a- mourl6.me con-ven-drd mo- ,,1- • pri- son m'a nu lon- gue- ment fort n'ai de li; 18 car trop cru- el- ment 19. m'a fait Jonc tmis lan- li et point'" ne se re- pent 2 1 1 J ! 20 Hé,dame au cler vis. 21 se- cou- rés moi vo loi- al a- mi, !l.s'il moi gre- ver tout J :1-: dés sans rai- SOn. lJ fol.~77 " .. " vous vient a plai- sir, 2J car du mll. que je ti.2snus fors vous ne m"en puet ga :77 K Dieus, c- le ne puet trou- autre choi- son. (. l"l~17 93 .. 26. Si vous sam- blant-""'\.Sedevous le YC- oi- e ve- Ci ai don, .' . . .J • 41 ou- vrer" 35. je ve- mr. roi ja n'a- vrai, puis- que au- ment, 12 de • mOur don. /1 .() 94 .1 ------_._------_~~ ...... __:---v __ ~" .. _~~~~._~•• ~ ____ ._'~~ .. "~~" __ "_'_~ __~_ ._ ..; __ . _____..... --.:_.. _-:; .. J'~_~~'''' ,~_""""'~ ...... ___ 'w .. ,/ ~ :.. 0 • y. \ '-, \, 1 264- ( Tr 101290, li ,1. Au- cuns vont sou- vent 2.par . leur en· vi·' e mes- di· san,pda-mourl>, me~ il M roi 290v - --, LA. lT\or, ~or d'a- mer loi- .. rat ihu- ma- quem J " , tout ho-nour ct tout bon en- 1se· gne· en li , ' 1 rat bc::lr- na- lis af- fec - ti- 1 _3 a- mi- e a· mer vrai- e- ( ~i· no vi· ci· ° 1 1 1, ! l~~\,~Ë1~~-5~~~~§), 1 1 95 L - ----" .. _"-- .. ---...... _~-_._,~--- - ." ~ ...... _ ~ "1<''''' ~~~ __ """"""",,,,,,,,,,""J"V""~"''''IO<>!''''~'''''''',_~_. ~ ... _-...... ,.-.t. __ ~~ __~~..,. ___ ..... _ .. _~ ..... 40 .. ~ ...... _~~ --:--_... __ ~ _____ ~_ ~_~_ .. - - 1 " , I[ i f i• f t i ( , ~ -\ ! l ! i 1. t, se dà~ m:lS~ ser ar- gent. es- se, ni- am est 1· 28 com- p.li- gnie J1et des- pen! a- dés lar- ge~ ment: ~e! si n'a en Il fc- sc, 7 ut q~o plus di- 1J 16 mes 'a chas- su-. me- he'7 et pa- ro-le cour-t9i- sc- tur ci- to I.a- bi- tur IR S,I a du tout par ri- e 19 mis son cuc:r cn a- mer en - lie- re- r it, c- 0- mi- ~'lW'- __ ...... --______~.~, ____~4~~~. ______",' .... "~+ ...... b~w"'iJdj~_ ...... ,t.... ~.... "' ______..;.. __,- _____'*I .. _.'~ .. t __, __~~. ______• __ _ r ment ~l , ,. ., J / " 97 ~ __ ~ _--,..,..,~ ... -", ... _... r--~---~ .. _...,.., __ ,____ ...-..I'_~~~'*~ __ ~f"'--" ___ ...... __~ .... ~ ,- _-r.-"''"~-''t'~'''P''''''''''''''~'''''''''''~ <"~ _ ...... ,.-. .. .- 289 ( Music and lexIs by Pierre de la Croix (?) . Tr J) qui si me mais- tri. e, l'Tl I.So- ) A' T fol 326 .. ls0L~M A J 1) ! • et mer- 3. de la simple [ed e, que je nos nom- ! ~ , t m- fi- !:.. , 3)" -0 " B _,___ 6:---.. 4 poW'. b ft:- gn: - li - CI- tum. roI J~", - pri, que- le---J rrù d:lÎgne a - mi rt:- cIa- mer. 7 puis 'por- r.u ma joi- c dou- b'r:r 5 co- -6'-' 2 98 ) .. J) , r<>lm se- Ü - Je de- mc- 9p se- rnèn7)con-.ven-drnx> tou- te ma vi - e plou- 6 glo- ri- c 7.in- tran- tem Ihlor- 1· B 1, 15 1 1) - rer Il sans nul se-cours l'le s:mz nu- le ra- en-çon,12.cbn puist en trot le sie- cie tro - \'er. fol )27 1) ~ tum Il pu- ch- ci - ci- e, pre poSt- qœ vic- Jt 4) c D mOLlI, par ta f r .m-cluse • j'at mon en-ten- II: nu- sc, 15. te pri, que h \ucl-Ics ha,;- - go pu- ra, la) - ter 16. ct me- tre li une le de Ion feu 17 de- sous la ma-me- le pour cm - bra- (1 10 ccl- in- no- xi - ail) ma- ris a,- ci- 4)" (01. )21. E 3 99 f \'! 1 1 \ 10) 1 18.car je neU) sai mel- Iour a - vo- c:tt t9.en ces- te cau~se trou- \a I2.Slel - la, . Ma- !l- -3_ J .J qui si bien par - f al - te-rnent i sa,- che pro- ce- der. Et sil li plaist, tel gucr-re- don, 1) J IJ ma - ris ho- th !.. 14 pro- B 1)-"- 1<) scr coml'ili pLu- T.!. 2:? rendre a ~(ln gré SUI prt!~ el ./01 18) F -IT!- ml p 100 l1 - '- - 1 11 1 1 1 298 1 1 ( - 1 Tr 'fol 341., J Lonc tans ai a - ten- du le mier-chi2 de ma da- me.mais g'j ai fail- h; M- 101. J41v """' ... J Tant fer! en a - manl 2.0c roi. 341. -&. je, me de - ne puis plus souf - frir, n'-/1 ' 6. bien' sali], qu'an-chois c- üst pi - tié de '7. Bien cuÎ- doi- e, que roI. 34Z tous rus .0. SUI en pen - sant 4. a se s'a- rnor con-qucs- ter mon pen - ser; 9 mais ~j .( I~ :i 1. " ( ) la be - le, qui je de - sir; .. , Il B 101 ~,i.l'- li - ...... _ .. ,- .. -, - -. ~. ~"~,.- ~'_ ~~~~"~---'-'\-- "' ~ " ( , ~ puis - que je li eue tou- te ma vo - len - te de - mous- tre, (01. 341' si .J n'. puis a - "c - nir 6 a fol H!v 1'- 1\ " ...... ~ :... ..~ ·ll~- ,. ". .. ,. 10 Ile dai-gn:! par - 1er a moi n~ \'ers moi 1 . 1 1 1 1 1 1 a quoi voi - tro - '1! . , , ," ! c t _J 1 r 1 \ 1 mieus, que je por-rai,lJ m:ndc-por~te-rai.l~car se je chi rail - li ai, 1 i i 1 1 1 bl:lU sam bJant. maus me fait ( - 1 !, t ------~ ~--- -- "'5'" r . 1 2 r : ! ;:: ------~--,-- -,~ ~ f une au - tre - re - cou-vrer por - rai; 11\ car j'ai tant . A- mours sier- ( rir. chou que ne m'cn· men :t; 1/ r---- "\ , 102 1 - ~---_-..---... ~--_ ...... ~---.,.'-~-~~--;----_-.._ ... _------~"'._-~~~._---_ ...... _... ~-_ ..... --- /' 20 mes, 18 je ne dai mi - e m(IIl~·-fTPrl'J'", a ce- Il, a ma vo - len - té par - tir roi 343 roi 343v 1er; 21 car se je fac sam-blant,que je n'al- mors, mais rentre en con - fort grant; 25 çois m'en a - me - ra. IJ me sench plus va - loir ra. ( qUI", de - vant.14Si Iolst re ge - rJr. 103 __ .. _~_, ...... _~ ..... _...... __ ... __ .... _k_ ...... _____ ~~ .. __"" .... ~_-.... -_;:- ~ _____ ~ ______._. __..._ .. __ .,..~_ .. _, ______.-~ _... __ ~..,.. . ./ .':Cf 299 (' - Music ami texfs by PH~rre de la Croix (?) Tr fol 344 1 Pourchouquejàimma da - me tout arnr1nT"\n.J oir, 2. me vQe-lent mes- di - sant fe-Ion . ToI 1~4 1 L1 jo - Ils tans, nir, f"l H4 " KYRlELEISON 1 'A r J. et l.lIIl Ill!! g.l1- lent Il el nuit cl Jour en - si,4quc Je ni ose a- mous- tré c.JU - se de moi (01.344 v 1#1 r~1 s.Hé. bs. je l'ai sier - vi 6 \one tanscomllvrais a-mis sanz re-mou- ir J.ct con - ce - ,'oir m'a )\ J -J- 21 ' .. voir, 7. dom ne me por-ral te- mr. S que Je ne 1}i\OI-Se Vif, 91a clou-cc que doue mal me fait a- .J , J ( pen - se jo - la 4 a plal· sant, bele 104 ______... _... _..-;/l~~~""~,,",,'''~ ______,___ ''''''''_'''' ___ ~_' ~ • ...... I __~- __'-~-- ,'/ t ( \ JO.de coi je sui mult lIés,lln-ans et en - \01 - si~s.I2.Pour chou si [TI'en, .... ,...... ~. ...--. - J - { a - . ve - nans. Je l'aim SI, - III loI. J~5 -.~--> II pour vlr. ,c je:: por-rol~ c le:. llIau·~.lIS ~eMI-cu~ fo.lHC cre·."er . bien es- pOlr, kèle ait pl - té de mi, '~I 345 , 15.qui Sunl demaint a ..mantc~\re{(lUS tansha-y. 16 SI proi Dleu,que ,ve - oir J7. de ma - le mort mo - J (; car . pour nient hon- no - le - e l'a - roi- . e, -J- -rir 1".Ies pUIs-50ns au- an Vif, 19 SI que p mais men- tir 20 ne por - ront n'aus-si sa-VOir, iior': ... . ~ - ...... ~ --- .._.. ",,!- J ( me- fI- le a - \Olr ne 105 Il '1 1 1 ( ! 1 rol.34h- 1 vrais 3-mis 22.ne li ques est ha- ïs. ve- skir24etbienJot-alHllent a- --== - doi - e. 8 Et ne pour quant de '1 1 1 1 25 au- SI \ocl 0'- be - If 26 a ma d..tme et sier - vir Te nc dOl pas, 20 n'en ,ocl par-tir29pour m.ll, kart il SQuf-[nr;30men--j tir n'cn quierpournuJ a- voir. \ers A- mours ne fe - roit nus Jais cas. " 8 "'1 1 1 ( 106 ,-~------_._--._------, , , ____ ~ ___+ __.""_"'-~_~.H"""""""'\."\l"~""~I~""''''--'I{_''''~'''''''''''l1'".lr\''~~'''''"''ltt''"'l!'JoI..,..~~~ ...... ~~I''''~~~~~ ,"""e- __ "",~"'JO'O"'~~ ....~ .... ~~~,.-$,'V" BIBL!OGRAPHY Anderson, Gordon Athol. The Latin Compositions in Fascicles VII and VIII of the Notre, Dame Manuscript Wolfenbüttel He1mstadt 1099 (1206). Brooklyn: Institute of Mediaeva1 Music, 1968. ______• (ed.). Motets of the Manuscript La Glayette. Rome: American Institute of Musico1ogy, 1975. "Notre Dame Latin Double Motets. Il Musica Disciplina, VoL XXV (1971): pp. 35-9~ Anglès, Higini (ed.). ' El Codex Musical de 'Las Huelgas: musiea a veus dels seSles XIII-XIV. Barcelona: Institut d'estudis eatalana: Biblioteea de Catalunya, 193L, • Anonymous IV. De mensuris et diseantu. (Coneerning the Measur~ment of Polyphonie Song). Luther Dittmer, (trans. & ed.). Brooklyn: Institute of Mediaeval Music, 1959. J Ape1, Will!. The Notation of Polyphonie Music, 900-1600 • .cambridge: The Mediaeval Academy or~a, 1953. Apfe1, Ernst. An1age und Struktur der Motetten lm Codex Montpellier. '~~ Heidelberg: Ca,rl Winter Universitlitsverlag, 1910. Aubry, Pierre (ed.). Cent motets du XIIIe Siècle publiés d'après le manuscrit Ed. IV 6 de Bamberg. 3 vols. Paris: A. Rouart, Lerol1è & Co., 1908. Auda, Antoine (ed.). "Les Motets Wallons" du manuscrit de Turin: vari 42. 2 vols. Bruxelles: Chez l~)aute~r, n.d. Baltzer, Rebecca. "Thirteenth-Century Illuminated Miniatures and the Date of the Florence Manuscript." American Musicologieal Society Journal. Vol. XXV (1972): pp. 1-18. Baxtef:, J.H. (ed:). WolfenbUttel. Herzog-August-BibÙothek. (Cod. Helmst. 628); An 01d St. Andrews Music Book. London: Oxforq University Press, 1931. Besseler, Heinrich. Die Musik des Mitte1a1ters und der Renaissance. Potsdam: Athenaion, c. 1931. Carpenter, Nan Cooke. Music in the Medieval and Renaissance Universities. New York: De Capo Press, 1972. 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