While the musical implications of plainchant tenor quotation have been extensively explored for fourteenth-century Ars nova motets, the same level of attention has not been paid to how composers choose tenors for thirteenth-century Ars antiqua motets.
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Works: Works: Anonymous motets including contrafacta: Salve salus hominum/O radians stella/Nostrum (161-62) O Maria, decus angelorum/Nostrum (161, 164) Tu decus es decoris/O Maria, beata genitrix/Nostrum (161, 164) Plus bele que/Quant revient/L'autr'ier jouer/Flos filius eius (165) Quant revient/L'autr'ier jouer/Flos filius eius (165) Candida virginitas/Flos filius eius (165-66) Castrum pudicitie/Virgo viget/Flos filius eius (165-66) Flos ascendit/Flos filius eius (167-68) Ne sai que je die/Johanne (170-71) Cecitas arpie fex/Johanne (170-71) Tedet intueri/Te decet (172-75) El mois d'avril/Al cor ai une/Et gaudebit (175) Ypocrite pseudopontifices/Velut stella/Et gaudebit (175-76) Virgo Virginum/Et gaudebit (175-76) Memor tui creatoris/Et gaudebit (175-76) O felix puerpera flos virginum/In seculum (180-81) Hac in die dulce melos/Cumque evigilasset (182) Hac in die dulce melos/Spes vite miseries/Cumque evigilasset (182-83) Balaam, prophetandi patuit/Balaam (183-84) Arbor nobilis/Crux forma penitentie/Sustinere (185-87) Cruci Domini/Crux forma penitentie/Sustinere (185-87) Eva quid deciperis/In seculum (187-88) Adam de la Halle: J'os bien a m'amie parler/Je n'os a m'amie aler/(In) seculum (188-89). Adam de la Halle's motet J'os bien a m'amie parler/Je n'os a m'amie aler/(In) seculum may be modeled on the original Latin version of Eva quid deciperis/In seculum. No other manuscript shows the shift from bilingual to Latin contrafacta as clearly as LoC. From this and other stylistic features, it may be concluded that the second group must be at least twenty years younger than the first. They are contrafacta of bilingual motets, but in contrast to the first group they have hardly been reworked thereafter. 8-14 have no clausula source and do not go back to an earlier Latin motet or a version in the old conductus-style. All the concordances are listed and each motet is placed in the historical position of the manuscript itself and in the repertory of the early motet (1200-1245). 30091) contains fourteen motets that may be divided into two equal halves of seven pieces representing two different styles. Index Classifications: Monophony to 1300, Polyphony to 1300 Sources: Blondel de Nesle: L’Amours dont sui espris R. 20,16 (30-35) Anonymous: Procurans odium AH. 1546 (20-30) Anonymous: Purgator Criminum AH. Works: Gautier de Coinci: L’Amours dont sui espris R. Questions of chronology and which works may have influenced one another are more difficult to answer, due to the limited number of medieval songs available to scholars and the general lack of analytical studies of the repertory. The numerous repeating motives and cellular construction of the upper voices’ melodies also suggest this conductus is derived from improvisatory vocal performance practices of the era.
21,176 from manuscripts F, Mü, and Ma, on the other hand, makes use of more elaborate voice exchanges above the tenor to create a unique, almost static aural effect, like the ringing of bells. The limited voice exchange and simple counterpoint with the tenor, moreover, marks it as a fairly unsophisticated reworking. 20,16 from the manuscript W1 uses the L’Amours melody as a tenor and features new upper voices, but these added parts are deeply dependent on the contour and motivic cells of Blondel’s melody.
An analysis of Blondel’s chanson shows a close correspondence between the textual rhythm and musical motives, with the whole melody built in paired sequences that act almost like question-and-answer phrases-a common technique in medieval song practice. All of these songs and conductus feature virtually identical line length, rhyme arrangement, and large-scale form, although it is unclear if any or all of these works follow a particular rhythmic mode. 1545, attributed to the twelfth century trouvère Blondel de Nesle, and its retexted version by Gautier de Coinci served as the basis for several works in the ensuing decades, and these later works provide a useful view into the compositional practices of the era. The chanson d’amour L’Amours dont sui espris R.
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