This article examines a family of thirteenth-century discant and motets on the tenor LATUS, tracing complex relationships between the various incarnations of its shared musical material: passages of melismatic discant in two- and three-voices, a three-voice Latin conductus motet, a two-voice Latin and French motet, and a three-voice Latin double motet. I query conventional fundamentally linear models of discant-motet interaction, emphasizing the possibility of simultaneously filial and collateral interrelationships between versions: different motet texts can influence each other, while retaining independent connections with an earlier melismatic discant model. This leads to a reevaluation of traditional evolutionary and stylistic perceptions of sub-genres defined within the category of motet. The article addresses questions of compositional process, reflecting on the types of creative and scribal activities involved in the formulation of motets.
Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family
Catherine A. Bradley is assistant professor in Medieval and Renaissance music history and theory at the State University of New York at Stony Brook. She has published articles on the earliest motets in Music and Letters, Plainsong and Medieval Music, Early Music History, and Music Analysis.
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Catherine A. Bradley; Re-workings and Chronological Dynamics in a Thirteenth-Century Latin Motet Family. Journal of Musicology 1 April 2015; 32 (2): 153–197. doi: https://doi.org/10.1525/jm.2015.32.2.153
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