Originated at the School of Notre-Dame de Paris approx. In medieval polyphony, tenor was the name given to the voice that had the cantus firmus, a preexisting melody, often a fragment of plainsong, to which other voices in counterpoint were added. The Tenor usually contained a repeating rhythmic pattern called an ordo.
Motets played a leading role as vehicles for compositional innovation and virtuosic display throughout the 14th—16th centuries. In the 17th and 18th centuries, national styles fractured established compositional norms and multiplied the terms used to designate equivalent musical genres.
Since the 19th century, composers have often looked to early models, emulating specific qualities, particularly those of the 14th—16th centuries, such as isorhythm, rhythmic idioms, cantus firmus, voicings, textures, cadential formulas, texts or text types, harmonies, and melodic styles from earlier periods.
Because the style, function, and terminology associated with the motet vary from the time of its origin in the 13th century, no description can encompass all motets.
Some hallmarks apply in most periods, though works in every time and place may diverge from the common traits, often as a result of their intended function. The motet often combines a text of high quality with music intended to be sung by skilled singers and heard by sophisticated listeners, as asserted by Johannes de Grocheio for its earliest period: Seay, Colorodo Springs,p.
Texts may be in Latin or in any vernacular language; or they may be either religious or secular, drawn from scripture, liturgy, poetry, or freely composed. Musically and textually, the motet interacts with the culture around it, representing in each period the current tastes and concerns of compositional technique and cultural topical interest, and this quality precludes a single definition or description.
The audience, function, and performance context of the motet varies over time and is sometimes unknown, or known only in a general sense. Much of the literature addresses the continuously changing nature of the motet. Reference Works The motet has rarely been treated in comprehensive studies by a single author, and never in English.
MGG and Grove include significant articles on the motet as well as articles containing biographical information and lists of compositions for most of the major composers of motets and for the vast majority of those who are less well known. Some individual works are mentioned within articles on composers.
Many musical sources containing motets are mentioned and briefly described in Boorman, et al. In addition, Grove Music Online can be searched for individual motet texts in works lists, though this search is far from comprehensive, as not all composer articles include complete works lists.
Owens provides a succinct, reliable overview. Each of the sources listed provides further bibliography on the motet. Boorman, Stanley, Ernest M. Edited by Deane Root.
Edited by Friedrich Blume, — Chronological divisions occur at stylistic junctures in the development of the motet: Included are musical examples and an extensive bibliography subdivided by topic. Edited by Don Michael Randall, — Each section provides detailed descriptions, mentioning composers, compositional techniques, and specific works.
Also has a bibliography.
Anthony, and Malcom Boyd. Organized by time period: Middle Ages, Renaissance, Baroque, afterand 20th century, plus further subdivisions by geographic region. Includes a detailed explanation of isorhythm and some discussion of specific works and composers.
A major source for 13th-century motets is the Montpellier Codex, which was compiled around the year and in its organisation illustrates the evolution of the form. This technique is primarily seen in three-voice, 13th-century English isomelic motets (which feature repeated material in both the upper voices and the tenor), and later expanded into four-voice, 14th-century motets (where a pair of tenors also participate in the voice exchange). A major source for 13th-century motets is the Montpellier Codex, which was compiled around the year and in its organisation illustrates the evolution of the form.
Features musical examples, facsimile examples, and extensive bibliography subdivided by topic. Users without a subscription are not able to see the full content on this page.
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|medieval motet||Choral music has been enriched for centuries by the composition of motets, which were originally settings of liturgical or biblical texts.|
|Motet | vocal music | ashio-midori.com||Museo dell'Opera del Duomo in Florence. The motet was preserved in the transition from medieval to Renaissance musicbut the character of the composition was entirely changed.|
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For more information or to contact an Oxford Sales Representative click here.The motet, a free-standing work usually for a vocal ensemble, emerged in the late 12th or early 13th century and evolved over time according to cultural and stylistic norms.
Motets played a leading role as vehicles for compositional innovation and virtuosic display throughout the 14th–16th centuries. Europe in the 14th Century and the Renaissance The 14th century was anything but pleasant for the people living in Europe at the time.
There were so many factors and conditions that ultimately helped pave the way for the Renaissance. I will focus on the key influences during this period that contributed to the development of this “rebirth”.
The motet began in the early 13th century as an application of a new text (i.e., “word”) a 13th-century and earlier form consisting of a plainchant melody in the tenor, above which were added one, two, In the 14th century secular motets were largely serious in content.
The earliest motets arose in the 13th century from the organum tradition exemplified in the Notre Dame school of Léonin and Pérotin. The motet probably arose from clausula sections, Increasingly in the 14th and 15th centuries, motets tended to be panisorhythmic;.
13 Century Motet: The outgrowth of this early motet was the isorhythmic motet of the late 13th and the 14th cent. It employed a recurring rhythmic pattern called a .
The earliest motets arose in 13th century from organum. Later in the 13th century there were secular motets too, written in the vernacular language. Motet's history can be divided into three periods. 1 Medieval Motet ( ), 2 Renaissance Motet ( ), 3 Baroque Motet ( ).