Abstract

The medieval motet arose around 1200 with the addition of texts to clausulae, which were polyphonic pieces of two or three parts constructed upon tenors drawn from the melismas of liturgical chants. The upper voices of three-part motets were usually given different texts. According to the traditional account, religious motets with Latin texts came first, followed soon by secular motets with French texts and bilingual double motets, but this chronological sequence has recently been called into question. There is no clear evidence that French motets arose later than Latin ones, and much to suggest that French motets flourished from the beginning. In the Latin motets the texts of the upper part or parts are almost always tropes of the chant tenors. They often incorporate words from the original chants and elaborate on their meaning, just as tropes of Kyries, Alleluias, and other monophonic chants had done. The French texts, on the other hand, are pastourelles, courtly love poems, or other genres of secular poetry similar to those found in the troubadour and trouvère repertory. French motets are thus thought to be unrelated to the chant tenors upon which they are based. The fragment of chant that serves as the tenor of a French motet is seen as merely a compositional device. Its origin as part of a larger melody and text and its connection with the liturgy are irrelevant