University of Wisconsin-Green Bay

Literature and Styles in Music I

New Musical Forms in the 12th Century

I Polyphonic Conductus

A. Early Conductus is monophonic

probably used for entrances in Liturgical Dramas

B. Name eventually applied to all non-liturgical Latin songs of serious character

C. Most are newly composed (i.e., not based on "borrowed chant")

D. Polyphonic conductus composed by Perotin & others

Generally less complex musical style than organum
2, 3 or 4 voices in narrow range, set homophonically (all voices in similar rhythm)
- This "chordal" approach also used in some other compositions, e.g., polyphonic hymns, sequences etc.
Typical intervals: 4ths, 5th, octaves; occas. 3rds
Text generally set syllabically
- except for Caudae, long textless passages at beginning, end and before some internal cadences

II Motet

A. Originates with the adding of text to wordless upper voices of sections of discant clausulae

Word "Motet" first applied French texts added to duplum of a clausulae section
"Motet" comes to signify composition as a whole
Soon, original upper parts supplied with new melodies
- This is advantageous since new melodies allow greater freedom in text selection and greater variety in rhythm and phrasing
- Since text and parts are considered interchangeable, multiple versions based on same section of discant clausulae may exist
  - Same tenor part may be used by several different motets

B. Motets soon written for secular entertainment in courtly environment

Secular motets also based originally on borrowed chant from sections of discant clausulae, but the tenor is played on an instrument (e.g., viol) and upper parts are sung in the vernacular (e.g., French) or with one voice in French and another in Latin (by 1250)
Originally borrowed tenor parts taken from the Magnum Liber Organi, but other sources eventually used (even secular ones)

C. Texts for Secular Motets

Themes of courtly love common, but poetry not always of high quality
- Stereotyped images and expressions common
- Extravagant and artificial rhyme schemes
- No sophisticated "word painting"
- Different parts often with different quality
  - Triplum = gay, lively
  - Motetus = complaining, lamenting
  - (But both parts often show symbolic unity)

D. Sound ideal: Juxtaposed rather than blended

E. Franconian Motet (13th century)

Named after Franco of Cologne (theorist-composer, author of Ars Cantus Mensurabilis, fl. 1250-80)
Distinction in type between upper voices
- Triplum: very active, fast-moving melody (associated with longer text)
- Motetus: comparatively lyrical melody with longer note values
- Usually stricter tenors with extensive repetition

F. Two distinct types of motet emerge in late 13th cent.

"Petronian" motets, i.e., those associated with style of Petrus de Cruce in which triplum has very fast rhythmic activity, motetus proceeds more slowly, and tenor (borrowed from chant) played instrumentally
Alternative "Homogeneous" Motet Style
- All voices proceed in similar rhythm
- Tenor borrowed from secular source

G. Consonance and Dissonance in 13th Cent. Motet

4ths considered consonances, 3rds considered dissonances (theoretically), but by 1300, 4th treated more as a dissonance, 3rd as consonance
Considered necessary to have triplum consonant with either the motetus or tenor, not necessarily both

H. Emergence of Standard Cadence Forms

Two- or three-part cadences based on major and minor 6ths expanding outward to octaves

III Notation in the Thirteenth Century

A. Need for a new notational system which provides more flexibility than the old system of rhythmic modes

B. Franco Cologne (in his Ars Cantus Mensurabilis) employs four different note values (double long, long, breve, semibreve) in which context determines exact number of beats

C. Franco's system allows for no more than 3 semibreves to a breve, but system used by Petrus de Cruce permits 4 semibreves to a breve (grouped by dots)

D. Switch to "Choirbook" format in the 13th cent.

Last Update 6/21/06

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