488:
71:). Like all medieval motets, it has separate texts for each voice, which are sung simultaneously. All three texts are in Latin; the title under which the work is conventionally known in scholarship today consists of the opening words of each text. Their subject matter deals with music and musicians, following a tradition of similar "musician-motets" known from contemporary France. It includes a named reference to the composer of the work, making him one of the earliest named English composers, and a self-referential description of the work's own structure.
399:. The presence of an English piece in this otherwise French collection has been explained through contacts between this court and neighbouring English possessions in France. The second source is Codex Bologna, Civico Museo Bibliografico Musicale, Ms. Q 15, a collection that otherwise represents a somewhat later repertoire with many works from the early 15th century. A third manuscript was discovered in a private collection in the 1980s, in the form of a single sheet of music that was found bound into a 15th-century book.
219:
329:
2278:
2288:
625:. As is common with isorhythmic motets, the upper voices are generally paced much faster than the tenor, often moving in eighth notes or fourth notes (minims and semibreves in medieval notation) where the tenor moves in long notes filling whole bars. The text of each upper voice is distributed in such a way that each of the three main parts, despite their diminishing length in time, has the same amount of text to convey (i.e. two stanzas in the
608:. A second scribe later added a second, slightly more wordy description of the same rule at the bottom of the page. In the Bologna manuscript, there is a repetition sign consisting of three vertical bars "|||", followed by the three standard mensuration signs written one over the other: a full circle with a dot in the middle, an empty circle, and an empty semicircle; in this case, the second repetition indicates
365:
characterised by a very significant structural innovation, the technique of multiple isorhtythmic diminution, which was to become a stock-in-trade technique of motet composition after 1400 but would be exceptionally innovative for 1358 or even still for 1370. Bowers comments on the idea that an
English composer might have been the first to invent this technique:
38:, the fourteenth-century school of polyphonic music based in France. It is notable for the historical information it provides about contemporary music life in England, and for its spectacularly sophisticated use of complex rhythmic devices, which mark it as a prime example of the stylistic outgrowth of the
214:
The third, upmost voice (triplum), in nine five-line stanzas, describes the flourishing of musical art at the contemporary
English royal court, and contains the praise of a series of named English musicians of the composer's own time or recent past (thus contrasting with the motetus and its emphasis
620:
Isorhythm is present in the composition not only in the tenor, but also in the upper voices. However, these have isorhythmic repetitions only within each of the three main structural parts defined by the tenor repetitions, not across them. Inside each tenor repetition, each of the upper voices also
364:
two years earlier. Against this, Roger Bowers has proposed a dating somewhat later, in the early 1370s, i.e. the last years of life of John Aleyn. The earlier the dating, the more astonishing is the work on stylistic grounds, and the early dating has therefore been met with skepticism. The motet is
369:
There is nothing inherently improbable in this suggestion: not everything new in fourteenth-century composition had to come out of France And of course, as far as the originator was concerned, the occasion of its invention was not the conscious inauguration of a major formal development in the
521:
The structural innovation of the diminution motet is that the whole tenor line is repeated three times in a modified, diminished form (thus resulting in a total nine-part structure). With each repetition, it is performed faster by a factor of two thirds. In the system of late medieval mensural
652:. The tenor moves in 2/4 time, the triplum simultaneously in 6/8 time. The motetus shifts between 3/4, 6/8 and 2/4 time, indicated by notes written in red in the original source. The same pattern in all three voices repeats twice more in the remaining two
300:. Historians who have researched the list of names, as well as that of Johannes Alanus himself, have been able to trace several of these individuals in historical sources, indicating that they were in fact all employed as musicians in either the
604:". In the extant manuscripts, the scribes have provided additional indications for defining this canon. In the Chantilly manuscript, there is a repetition sign "]|[" after the tenor notes, with a rule spelled out in words as:
97:
The middle voice or motetus, which has six six-line stanzas, first contains the praise of a succession of biblical and historical figures, each of whom is credited with a founding role for music and composition: the biblical
48:. It has been dated conjecturally to either around 1358, which, within that school of composition, would make its compositional technique exceptionally innovative for its own time, or some time later during the 1370s.
383:, Musée Condé Ms. 564 (olim 1047), probably an Italian copy written after 1400, of a French original compiled around 1395. This codex contains 99 polyphonic chansons and 13 motets from the repertoire of the French
641:
215:
on ancient figures). It names fourteen individuals, described as accomplished singers and composers, all apparently associated with the
English court. Their Latinized names are:
600:
This means that the length proportions of the tenor between the three repetitions is exactly 9:6:4. It is this rule that the motetum text describes with the words
304:
under Edward III, or in the private household chapel of the Black Prince, some time during the middle of the 14th century. The composer himself, identified as one
126:. The fifth stanza then spells out a rule for the performance of the piece itself, describing its structural plan (see below for an in-depth analysis):
633:). Thus, text declamation becomes progressively much faster towards the end of the composition, resulting in an overall effect of structural
688:(6/8 time) throughout, no matter what the current meter of the tenor is; this results in complex patterns of overlap and syncopation. The
676:
will not be perfectly aligned with those of the other voices, being shifted back by one eighth note with each repetition of the pattern.
336:. According to one hypothesis, the motet was written for the occasion of the royal festivities in celebration of the English victory.
911:
1449:
577:
each; thus corresponding to the length of either a 3/4 bar or a 6/8 bar in modern notation (the length of both being identical).
1941:
696:, the use of note heads filled in in red to indicate that their temporal value is shortened to two thirds their nominal value.
370:
history of musical design; to him it was a smart but one-off party trick (of the originality of which he was justifiably proud)
664:. There is an alternative reading proposed by some editors: according to them, the note "g" in the third-but-last bar in the
941:
762:
The motets of the manuscripts
Chantilly, musée condé, 564 (olim 1074) and Modena, Bibl. estense, α.M. 5,24 (olim lat.568).
430:
part, the foundational voice of the composition. It consists of a sequence of 24 notes taken from a pre-existing piece of
171:
Finally, the last stanza of the motetus names the composer of the piece himself, "J. Alanus", who introduces himself as
1783:
1275:
692:
is even more complex, as it shifts between meters multiple times. This is indicated in the notation by frequent use of
606:"Canon primo de tempore perfecto maioris, secundo de tempore imperfecto maioris, tertio de tempore imperfecto minoris"
2165:
94:
10.18). The motetus and triplum texts are newly composed for this piece. Both are written in Latin rhyming stanzas.
2150:
2123:
936:
764:
2145:
2155:
1404:
2328:
1461:
1069:
951:
660:(16 x 2/4) cannot be divided into 6/8 bars, the triplum has to put in one isolated 2/4 bar at the end of each
1270:
1389:
1304:
904:
340:
From various political allusions in the text, in connection with what is known about the named musicians,
2313:
392:
2268:
2133:
931:
668:, marked in purple here, is to be read as a simple undotted quaver (an imperfect semibreve). Then, the
501:
Staff 3–5: Tenor partially transcribed in modern notation. Each of the three repetitions of the tenor (
2128:
1803:
1798:
1444:
361:
333:
522:
notation, this is achieved by applying three different mensuration rules to the three repetitions.
296:) among the musicians' royal patrons can easily be decoded as a reference to the king's famous son,
297:
227:
2281:
1429:
1359:
897:
487:
313:
2140:
2291:
2170:
1976:
1632:
1319:
440:. The source for this melody has been identified as a (slightly modified) piece from the first
348:
have conjectured that the work was written for a specific historical event, the festivities at
1012:
2232:
1547:
1399:
1255:
1250:
1112:
285:
223:
91:
1694:
1324:
28:
of the second part of the 14th century, written by an
English composer known by the name of
2044:
2039:
1946:
1763:
1750:
1699:
1668:
1617:
1508:
1354:
1169:
1154:
1097:
1047:
1007:
964:
881:
1414:
1184:
644:
Polymetric structure between the three voices. This example shows the first rhythmic unit
8:
2247:
2242:
2090:
1873:
1663:
1562:
1493:
1369:
1364:
1309:
1225:
1195:
1052:
1042:
997:
959:
357:
353:
289:
280:
The first words of the text refer to a ruler under the legendary name of "Arturus" (i.e.
1334:
976:
2201:
2191:
2160:
1971:
1951:
1793:
1689:
1637:
1597:
1582:
1498:
1349:
1260:
1032:
449:
2323:
2287:
2073:
1961:
1931:
1891:
1838:
1773:
1684:
1679:
1627:
1587:
1524:
1503:
1409:
1394:
1344:
1205:
1164:
1092:
1002:
496:
461:
123:
712:
GĂĽnther, Ursula: Das Wort-Ton-Problem bei
Motetten des späten 14. Jahrhunderts. In:
345:
84:
Their voice has gone out through all the earth, their words to the end of the world.
2085:
1833:
1756:
1709:
1673:
1643:
1622:
1314:
1299:
1058:
238:
680:
The metric and rhythmic relations between the three voices are quite complex. The
2318:
2237:
2061:
1966:
1926:
1862:
1818:
1210:
1189:
1174:
1120:
1027:
816:
Bowers, Roger: Fixed points in the chronology of
English 14th-century polyphony.
431:
380:
292:
likened to that of the legendary Arthur. Another allusion to a "warlike prince" (
119:
75:
29:
499:, with the three mensuration signs defining the pattern of threefold diminution
218:
2196:
2066:
2056:
1936:
1867:
1828:
1808:
1788:
1518:
1488:
1374:
1230:
1200:
920:
621:
repeats the same rhythmic pattern (but with a new melody) in each of the three
349:
317:
115:
2307:
2002:
1901:
1768:
1736:
1592:
1513:
1159:
1037:
1020:
640:
436:
396:
341:
320:
at
Windsor, 1362; member of the Chapel Royal at least from 1364; died 1373).
99:
44:
1339:
480:
each, each of which has the same repeated rhythmic sequence (hence the term
2227:
2034:
1997:
1956:
1921:
1896:
1881:
1379:
1215:
990:
465:
301:
230:
were the two royal personalities with whom the motet is directly connected.
2222:
2217:
2012:
1384:
1329:
1235:
1083:
281:
1291:
426:. As with all isorhythmic motets, its structural plan is defined by its
328:
80:
In omnem terram exivit sonus eorum, et in fines orbis terrae verba eorum
1813:
1483:
1179:
1145:
1140:
596:
each; thus corresponding to the length of a 2/4 bar in modern notation.
305:
288:(reigned 1327 – 1377), who liked to see his role as the founder of the
107:
1107:
513:
repeating the same rhythmic pattern. Only the beginning notes of each
379:
The motet is known from three contemporary manuscript sources. One is
2024:
1886:
1704:
1439:
418:
22:
1102:
672:
will maintain its 6/8 movement throughout, but its second and third
74:
The tenor text (together with its melody) is taken from an existing
2186:
2106:
2029:
1992:
1475:
1265:
1245:
1220:
441:
111:
34:
798:
Trowell, Brian: A 14th century ceremonial motet and its composer.
2100:
2078:
2049:
2007:
1778:
1434:
982:
969:
889:
445:
156:
1823:
1745:
1240:
2095:
2019:
427:
87:
25:
546:
corresponds to the length of a 9/8 bar in modern notation.
308:, can be traced as the holder of various church offices ("
18:
Sub Arturo plebs – Fons citharizantium – In omnem terram
780:
Following the edition of M. Bent; U. GĂĽnther reads:
615:
716:
Leipzig: Deutscher Verlag für Musik, 1961. 163–178.
82:". This in turn is citing a verse from the Bible: "
756:
754:
752:
750:
748:
746:
744:
648:of the third, diminished, repetition of the tenor
714:Festschrift Heinrich Besseler zum 60. Geburtstag.
464:, in such a way that, together with interspersed
360:gathered to celebrate the English victory at the
202:the most humble and most insignificant J. Alanus,
32:or John Aleyn. It stands in the tradition of the
2305:
886:at La Trobe University, Medieval Music Database
741:
161:so that those whose name roll the triplum sings
534:note is measured as being subdivided in three
905:
491:Structural schema of the isorhythmic tenor.
204:so that their praise with its mighty sounds
1555:
736:Two 14th-century motets in praise of music.
452:. The 24 notes are rhythmically defined as
912:
898:
706:
526:The first time the tenor is to be read in
840:The motet in England in the 14th century.
794:
792:
790:
858:
812:
810:
808:
730:
728:
726:
724:
722:
686:tempus imperfectum cum prolatione maiore
639:
582:tempus imperfectum cum prolatione minore
555:tempus imperfectum cum prolatione maiore
493:Top: Underlying Gregorian chant melody.
486:
327:
217:
1546:
1450:List of Galician-Portuguese troubadours
832:
175:and prays for protection against envy:
2306:
787:
610:tempus perfectum cum prolatione minore
551:tempus perfectum cum prolatione minore
528:tempus perfectum cum prolatione maiore
402:
893:
845:
805:
719:
549:The second time it is read in either
505:) is faster by a factor of 2/3; each
391:. It has been linked to the court of
173:"the humblest and most insignificant"
853:Sieben Trienter Codizes (6. Auswahl)
472:. This sequence is divided in three
374:
51:
1276:Other troubadours and trobairitz...
151:The tenor of this three-part piece
118:, and the medieval music theorists
13:
919:
495:Second staff: Tenor as notated in
407:
284:), apparently an allusion to king
59:is a composition in three voices (
14:
2340:
875:
616:Pan-isorhythm in the upper voices
602:"bis sub emiolii normis recitatur
561:note is measured either in three
2286:
2277:
2276:
765:American Institute of Musicology
656:. Since the length of the tenor
356:, 1358, when the knights of the
823:
774:
1:
1271:William IX, Duke of Aquitaine
829:Bowers, Fixed Points, p.334f.
699:
580:The third time it is sung in
106:), the ancient philosophers
7:
942:List of musical instruments
866:Motets of French provenance
769:Corpus Mensurabilis Musicae
468:, they fill the time of 24
200:To these recommends himself
10:
2345:
476:, subsections measuring 8
264:Nicholaus de Vade Famelico
206:may defend him from envy.
2258:
2210:
2179:
2116:
1985:
1914:
1855:
1804:Matheus de Sancto Johanne
1799:Johannes Symonis Hasprois
1734:
1730:
1656:
1610:
1575:
1542:
1473:
1469:
1460:
1445:Galician-Portuguese lyric
1390:Jehan le Cuvelier d'Arras
1305:Andrieu Contredit d'Arras
1290:
1139:
1081:
1077:
1068:
950:
927:
323:
1834:Antonio Zacara da Teramo
588:note is measured in two
393:Gaston III of Foix-BĂ©arn
298:Edward, the Black Prince
228:Edward, the Black Prince
1360:Gillebert de Berneville
937:List of music theorists
864:Harrison, Frank Lloyd.
140:ut hii pulsent Dominum,
1633:Gherardello da Firenze
1320:Le Chastelain de Couci
1113:Philippe le Chancelier
677:
518:
434:plainchant, used as a
372:
337:
231:
155:under the rule of the
2329:Medieval compositions
1942:Johannes de Garlandia
1256:Raimbaut de Vaqueiras
643:
490:
367:
331:
316:, London, in 1361; a
221:
193:laus horum defendat.
163:may praise the Lord.
2263:Also music theorist*
1947:Johannes de Grocheio
1764:Conradus de Pistoria
1751:Philippus de Caserta
1700:Philippus de Caserta
1669:Antonello da Caserta
1618:Andreas de Florentia
1509:Guillaume de Machaut
1170:Bernart de Ventadorn
1155:Aimeric de Peguilhan
1098:Albertus Parisiensis
1048:Adam of Saint Victor
1008:Saint Martial school
965:Notker the Stammerer
851:von Ficker, Rudolf:
838:Lefferts, Peter M.:
782:quorum numeri nonum
450:commons for Apostles
314:St. Paul's Cathedral
142:quorum munum nominum
102:(here misspelled as
1874:Contenance angloise
1664:Bartolino da Padova
1563:Marchetto da Padova
1494:Magister Franciscus
1370:Guillaume le Vinier
1365:Gontier de Soignies
1310:Audefroi le Bastart
1196:Folquet de Marselha
1053:Wulfstan the Cantor
1043:Hildegard of Bingen
1013:Adémar de Chabannes
998:Fulbert of Chartres
960:Abbey of Saint Gall
952:Early (before 1150)
820:71 (1990): 313–335.
403:Structural analysis
358:Order of the Garter
290:Order of the Garter
191:ipsum sonis validis
189:quatenus ab invidis
183:Illis licet infimus
134:Huius pes triplarii
2314:14th-century songs
2202:Neo-Medieval music
2192:Medieval folk rock
1972:Berno of Reichenau
1952:Iacobus de Ispania
1794:Petrus de Goscalch
1695:Niccolò da Perugia
1690:Grazioso da Padova
1638:Lorenzo da Firenze
1598:Vincenzo da Rimini
1583:Giovanni da Cascia
1415:Other trouvères...
1400:Perrin d'Angicourt
1350:Gautier de Dargies
1325:Chrétien de Troyes
1261:Raimon de Miravalh
1251:Raimbaut d'Aurenga
678:
519:
362:Battle of Poitiers
338:
334:Battle of Poitiers
249:Johannes de Oxonia
232:
2301:
2300:
2269:Renaissance music
1977:Aurelian of RĂ©Ă´me
1962:Johannes de Muris
1932:Franco of Cologne
1910:
1909:
1892:Arnold de Lantins
1851:
1850:
1847:
1846:
1774:Johannes Cuvelier
1726:
1725:
1722:
1721:
1718:
1717:
1685:Giovanni Mazzuoli
1680:Matteo da Perugia
1652:
1651:
1628:Francesco Landini
1606:
1605:
1588:Jacopo da Bologna
1571:
1570:
1538:
1537:
1534:
1533:
1525:Philippe de Vitry
1504:Jehan de Lescurel
1425:
1424:
1410:Raoul de Soissons
1355:Gautier d'Espinal
1345:Gautier de Coincy
1286:
1285:
1206:Giraut de Bornelh
1185:CerverĂ de Girona
1165:Arnaut de Mareuil
1135:
1134:
1131:
1130:
1093:Notre-Dame school
1003:Heriger of Lobbes
932:List of composers
818:Music and Letters
802:29 (1957): 65–75.
800:Acta Musicologica
760:GĂĽnther, Ursula:
497:Mensural notation
462:mensural notation
375:Textual tradition
294:princeps bellicus
255:Edmundus de Buria
212:
211:
187:sese recommendat,
185:J. Alanus minimus
169:
168:
144:triplo modulator
124:Franco of Cologne
52:Text and contents
2336:
2290:
2280:
2279:
2086:Liturgical drama
1853:
1852:
1760:
1757:Johannes Ciconia
1732:
1731:
1728:
1727:
1710:Zacara da Teramo
1674:Johannes Ciconia
1654:
1653:
1644:Paolo da Firenze
1623:Donato da Cascia
1608:
1607:
1573:
1572:
1553:
1552:
1544:
1543:
1540:
1539:
1528:
1471:
1470:
1467:
1466:
1462:Late (1300–1400)
1405:Philippe de RĂ©mi
1335:Conon de BĂ©thune
1315:Blondel de Nesle
1300:Adam de la Halle
1288:
1287:
1226:Peire d'Alvernha
1137:
1136:
1124:
1079:
1078:
1075:
1074:
1070:High (1150–1300)
1059:Wipo of Burgundy
1024:
994:
986:
977:Stephen of Liège
914:
907:
900:
891:
890:
883:Sub Arturo plebs
869:
862:
856:
849:
843:
842:Ann Arbor, 1986.
836:
830:
827:
821:
814:
803:
796:
785:
778:
772:
758:
739:
738:Lustleigh, 1977.
734:Bent, Margaret:
732:
717:
710:
542:each; thus each
424:diminution motet
413:Sub arturo plebs
354:St. George's Day
239:J. de Alto Bosco
178:
177:
153:is recited twice
138:normis recitatur
129:
128:
57:Sub Arturo plebs
2344:
2343:
2339:
2338:
2337:
2335:
2334:
2333:
2304:
2303:
2302:
2297:
2296:
2273:
2254:
2206:
2175:
2112:
2062:Gregorian chant
1981:
1967:Walter Odington
1927:Guido of Arezzo
1906:
1863:Johannes Alanus
1843:
1819:Jacob Senleches
1755:
1714:
1648:
1602:
1567:
1530:
1523:
1456:
1421:
1282:
1211:Guiraut Riquier
1190:Comtessa de Dia
1175:Bertran de Born
1143:
1127:
1121:Petrus de Cruce
1119:
1064:
1028:Notker Physicus
1019:
989:
981:
946:
923:
918:
878:
873:
872:
863:
859:
850:
846:
837:
833:
828:
824:
815:
806:
797:
788:
779:
775:
759:
742:
733:
720:
711:
707:
702:
629:, three in the
618:
517:are shown here.
509:contains three
500:
494:
492:
410:
408:Tenor structure
405:
381:Codex Chantilly
377:
326:
208:
205:
203:
201:
195:
192:
190:
188:
186:
184:
165:
162:
160:
154:
152:
146:
143:
141:
139:
137:
136:bis sub emiolii
135:
120:Guido of Arezzo
76:Gregorian chant
54:
42:known today as
30:Johannes Alanus
12:
11:
5:
2342:
2332:
2331:
2326:
2321:
2316:
2299:
2298:
2295:
2294:
2284:
2266:
2265:
2264:
2260:
2259:
2256:
2255:
2253:
2252:
2251:
2250:
2245:
2240:
2235:
2230:
2220:
2214:
2212:
2208:
2207:
2205:
2204:
2199:
2197:Medieval metal
2194:
2189:
2183:
2181:
2177:
2176:
2174:
2173:
2168:
2163:
2158:
2153:
2148:
2143:
2138:
2137:
2136:
2131:
2120:
2118:
2114:
2113:
2111:
2110:
2103:
2098:
2093:
2088:
2083:
2082:
2081:
2071:
2070:
2069:
2067:Pope Gregory I
2059:
2054:
2053:
2052:
2047:
2042:
2032:
2027:
2022:
2017:
2016:
2015:
2005:
2000:
1995:
1989:
1987:
1983:
1982:
1980:
1979:
1974:
1969:
1964:
1959:
1954:
1949:
1944:
1939:
1937:Johannes Cotto
1934:
1929:
1924:
1918:
1916:
1912:
1911:
1908:
1907:
1905:
1904:
1899:
1894:
1889:
1884:
1879:
1878:
1877:
1868:John Dunstaple
1865:
1859:
1857:
1849:
1848:
1845:
1844:
1842:
1841:
1836:
1831:
1829:Johannes Susay
1826:
1821:
1816:
1811:
1809:Gacian Reyneau
1806:
1801:
1796:
1791:
1789:Martinus Fabri
1786:
1781:
1776:
1771:
1766:
1761:
1753:
1748:
1742:
1740:
1724:
1723:
1720:
1719:
1716:
1715:
1713:
1712:
1707:
1702:
1697:
1692:
1687:
1682:
1677:
1671:
1666:
1660:
1658:
1657:3rd generation
1650:
1649:
1647:
1646:
1641:
1635:
1630:
1625:
1620:
1614:
1612:
1611:2nd generation
1604:
1603:
1601:
1600:
1595:
1590:
1585:
1579:
1577:
1576:1st generation
1569:
1568:
1566:
1565:
1559:
1557:
1550:
1536:
1535:
1532:
1531:
1529:
1521:
1519:Jehan Vaillant
1516:
1511:
1506:
1501:
1496:
1491:
1489:Denis Le Grant
1486:
1481:
1479:
1464:
1458:
1457:
1455:
1454:
1453:
1452:
1442:
1437:
1432:
1426:
1423:
1422:
1420:
1419:
1418:
1417:
1407:
1402:
1397:
1395:Moniot d'Arras
1392:
1387:
1382:
1377:
1375:Guiot de Dijon
1372:
1367:
1362:
1357:
1352:
1347:
1342:
1337:
1332:
1327:
1322:
1317:
1312:
1307:
1302:
1296:
1294:
1284:
1283:
1281:
1280:
1279:
1278:
1268:
1263:
1258:
1253:
1248:
1243:
1238:
1233:
1231:Peire Cardenal
1228:
1223:
1218:
1213:
1208:
1203:
1201:Gaucelm Faidit
1198:
1193:
1187:
1182:
1177:
1172:
1167:
1162:
1157:
1151:
1149:
1133:
1132:
1129:
1128:
1126:
1125:
1117:
1116:
1115:
1110:
1105:
1100:
1089:
1087:
1072:
1066:
1065:
1063:
1062:
1056:
1050:
1045:
1040:
1035:
1030:
1025:
1017:
1016:
1015:
1005:
1000:
995:
987:
979:
974:
973:
972:
967:
956:
954:
948:
947:
945:
944:
939:
934:
928:
925:
924:
921:Medieval music
917:
916:
909:
902:
894:
888:
887:
877:
876:External links
874:
871:
870:
868:. Monaco 1968.
857:
844:
831:
822:
804:
786:
773:
740:
718:
704:
703:
701:
698:
617:
614:
598:
597:
578:
547:
444:for the first
409:
406:
404:
401:
376:
373:
350:Windsor Castle
346:Ursula GĂĽnther
325:
322:
278:
277:
274:
271:
268:
265:
262:
259:
256:
253:
250:
247:
246:Ricardus Blith
244:
241:
236:
210:
209:
198:
196:
181:
167:
166:
149:
147:
132:
116:Pope Gregory I
53:
50:
9:
6:
4:
3:
2:
2341:
2330:
2327:
2325:
2322:
2320:
2317:
2315:
2312:
2311:
2309:
2293:
2289:
2285:
2283:
2275:
2274:
2271:
2270:
2262:
2261:
2257:
2249:
2246:
2244:
2241:
2239:
2236:
2234:
2231:
2229:
2226:
2225:
2224:
2221:
2219:
2216:
2215:
2213:
2209:
2203:
2200:
2198:
2195:
2193:
2190:
2188:
2185:
2184:
2182:
2178:
2172:
2169:
2167:
2164:
2162:
2159:
2157:
2154:
2152:
2149:
2147:
2144:
2142:
2139:
2135:
2132:
2130:
2127:
2126:
2125:
2124:British Isles
2122:
2121:
2119:
2115:
2109:
2108:
2104:
2102:
2099:
2097:
2094:
2092:
2089:
2087:
2084:
2080:
2077:
2076:
2075:
2072:
2068:
2065:
2064:
2063:
2060:
2058:
2055:
2051:
2048:
2046:
2043:
2041:
2038:
2037:
2036:
2033:
2031:
2028:
2026:
2023:
2021:
2018:
2014:
2011:
2010:
2009:
2006:
2004:
2001:
1999:
1996:
1994:
1991:
1990:
1988:
1986:Musical forms
1984:
1978:
1975:
1973:
1970:
1968:
1965:
1963:
1960:
1958:
1955:
1953:
1950:
1948:
1945:
1943:
1940:
1938:
1935:
1933:
1930:
1928:
1925:
1923:
1920:
1919:
1917:
1913:
1903:
1902:W. de Wycombe
1900:
1898:
1895:
1893:
1890:
1888:
1885:
1883:
1880:
1876:
1875:
1871:
1870:
1869:
1866:
1864:
1861:
1860:
1858:
1854:
1840:
1837:
1835:
1832:
1830:
1827:
1825:
1822:
1820:
1817:
1815:
1812:
1810:
1807:
1805:
1802:
1800:
1797:
1795:
1792:
1790:
1787:
1785:
1782:
1780:
1777:
1775:
1772:
1770:
1769:Baude Cordier
1767:
1765:
1762:
1758:
1754:
1752:
1749:
1747:
1744:
1743:
1741:
1739:
1738:
1737:Ars subtilior
1733:
1729:
1711:
1708:
1706:
1703:
1701:
1698:
1696:
1693:
1691:
1688:
1686:
1683:
1681:
1678:
1675:
1672:
1670:
1667:
1665:
1662:
1661:
1659:
1655:
1645:
1642:
1639:
1636:
1634:
1631:
1629:
1626:
1624:
1621:
1619:
1616:
1615:
1613:
1609:
1599:
1596:
1594:
1593:Maestro Piero
1591:
1589:
1586:
1584:
1581:
1580:
1578:
1574:
1564:
1561:
1560:
1558:
1554:
1551:
1549:
1545:
1541:
1526:
1522:
1520:
1517:
1515:
1514:P. des Molins
1512:
1510:
1507:
1505:
1502:
1500:
1497:
1495:
1492:
1490:
1487:
1485:
1482:
1480:
1478:
1477:
1472:
1468:
1465:
1463:
1459:
1451:
1448:
1447:
1446:
1443:
1441:
1438:
1436:
1433:
1431:
1428:
1427:
1416:
1413:
1412:
1411:
1408:
1406:
1403:
1401:
1398:
1396:
1393:
1391:
1388:
1386:
1383:
1381:
1378:
1376:
1373:
1371:
1368:
1366:
1363:
1361:
1358:
1356:
1353:
1351:
1348:
1346:
1343:
1341:
1338:
1336:
1333:
1331:
1328:
1326:
1323:
1321:
1318:
1316:
1313:
1311:
1308:
1306:
1303:
1301:
1298:
1297:
1295:
1293:
1289:
1277:
1274:
1273:
1272:
1269:
1267:
1264:
1262:
1259:
1257:
1254:
1252:
1249:
1247:
1244:
1242:
1239:
1237:
1234:
1232:
1229:
1227:
1224:
1222:
1219:
1217:
1214:
1212:
1209:
1207:
1204:
1202:
1199:
1197:
1194:
1191:
1188:
1186:
1183:
1181:
1178:
1176:
1173:
1171:
1168:
1166:
1163:
1161:
1160:Arnaut Daniel
1158:
1156:
1153:
1152:
1150:
1147:
1142:
1138:
1122:
1118:
1114:
1111:
1109:
1106:
1104:
1101:
1099:
1096:
1095:
1094:
1091:
1090:
1088:
1086:
1085:
1080:
1076:
1073:
1071:
1067:
1060:
1057:
1054:
1051:
1049:
1046:
1044:
1041:
1039:
1038:Peter Abelard
1036:
1034:
1031:
1029:
1026:
1022:
1021:Odo of Arezzo
1018:
1014:
1011:
1010:
1009:
1006:
1004:
1001:
999:
996:
992:
988:
984:
980:
978:
975:
971:
968:
966:
963:
962:
961:
958:
957:
955:
953:
949:
943:
940:
938:
935:
933:
930:
929:
926:
922:
915:
910:
908:
903:
901:
896:
895:
892:
885:
884:
880:
879:
867:
861:
854:
848:
841:
835:
826:
819:
813:
811:
809:
801:
795:
793:
791:
783:
777:
770:
766:
763:
757:
755:
753:
751:
749:
747:
745:
737:
731:
729:
727:
725:
723:
715:
709:
705:
697:
695:
691:
687:
683:
675:
671:
667:
663:
659:
655:
651:
647:
642:
638:
636:
632:
628:
624:
613:
611:
607:
603:
595:
591:
587:
583:
579:
576:
572:
568:
564:
560:
556:
552:
548:
545:
541:
537:
533:
529:
525:
524:
523:
516:
512:
508:
504:
498:
489:
485:
483:
479:
475:
471:
467:
463:
459:
455:
451:
447:
443:
439:
438:
437:cantus firmus
433:
429:
425:
422:, three-part
421:
420:
414:
400:
398:
397:count of Foix
394:
390:
389:Ars subtilior
386:
382:
371:
366:
363:
359:
355:
351:
347:
343:
342:Brian Trowell
335:
330:
321:
319:
315:
311:
307:
303:
299:
295:
291:
287:
283:
275:
272:
269:
267:G. de Horarum
266:
263:
260:
257:
254:
251:
248:
245:
242:
240:
237:
234:
233:
229:
225:
220:
216:
207:
197:
194:
180:
179:
176:
174:
164:
158:
148:
145:
131:
130:
127:
125:
121:
117:
113:
109:
105:
101:
95:
93:
89:
85:
81:
77:
72:
70:
66:
62:
58:
49:
47:
46:
45:Ars subtilior
41:
37:
36:
31:
27:
24:
20:
19:
2267:
2233:Architecture
2105:
2057:Geisslerlied
2035:Formes fixes
1957:Notker Labeo
1922:Anonymous IV
1897:Leonel Power
1882:Thomas Fabri
1872:
1735:
1556:Predecessors
1474:
1380:Jehan Bretel
1216:Jaufre Rudel
1082:
991:Odo of Cluny
882:
865:
860:
855:. Wien 1933.
852:
847:
839:
834:
825:
817:
799:
781:
776:
768:
761:
735:
713:
708:
693:
689:
685:
681:
679:
673:
669:
665:
661:
657:
653:
649:
645:
634:
630:
626:
622:
619:
609:
605:
601:
599:
593:
589:
585:
581:
574:
570:
569:each or two
566:
562:
558:
554:
550:
543:
539:
535:
531:
527:
520:
514:
510:
506:
502:
481:
477:
473:
469:
457:
453:
435:
423:
416:
412:
411:
388:
384:
378:
368:
339:
310:King's clerk
309:
302:Chapel Royal
293:
279:
213:
199:
182:
172:
170:
150:
133:
103:
96:
83:
79:
73:
68:
64:
60:
56:
55:
43:
39:
33:
17:
16:
15:
2223:Middle Ages
2218:Early music
2180:Derivations
2013:Chansonnier
1385:Jehan Erart
1330:Colin Muset
1236:Peire Vidal
1084:Ars antiqua
635:accelerando
573:with three
538:with three
419:isorhythmic
276:Adam Levita
261:Episwich J.
243:G. Martinus
235:J. de Corbe
90:. 19.5 and
23:isorhythmic
2308:Categories
2248:Philosophy
2243:Literature
2211:Background
2117:Traditions
1484:F. Andrieu
1340:Gace Brulé
1180:Castelloza
1146:Trobairitz
1141:Troubadour
1033:St. Godric
700:References
694:colaration
590:semibreves
571:semibreves
563:semibreves
536:semibreves
306:John Aleyn
286:Edward III
224:Edward III
108:Pythagoras
2161:Lithuania
2025:Conductus
1915:Theorists
1887:Roy Henry
1814:Rodericus
1705:Sant Omer
1440:Minnesang
767:, 1965. (
684:moves in
592:with two
565:with two
482:isorhythm
432:Gregorian
2324:Ars nova
2282:Category
2187:Bardcore
2166:Portugal
2134:Scotland
2107:Planctus
2091:Madrigal
2030:Estampie
1993:Antiphon
1548:Trecento
1476:Ars nova
1435:Goliards
1292:Trouvère
1266:Sordello
1246:Perdigon
1221:Marcabru
442:antiphon
385:Ars nova
258:Blith G.
252:G. Mughe
112:Boethius
40:Ars nova
35:Ars nova
2151:Germany
2129:England
2101:Organum
2079:Tydorel
2050:Virelai
2045:Rondeau
2040:Ballade
2008:Chanson
1784:Egidius
1779:Egardus
1499:Grimace
1430:Casella
1108:PĂ©rotin
983:Hucbald
970:Tuotilo
690:motetus
682:triplum
670:triplum
666:triplum
650:(color)
646:(talea)
631:triplum
627:motetus
584:: each
557:: each
530:: each
503:colores
448:of the
446:nocturn
273:Clemens
157:Hemiola
104:"Tubal"
69:triplum
65:motetus
2319:Motets
2292:Portal
2238:Poetry
2146:France
2141:Cyprus
1856:Others
1839:Trebor
1824:Solage
1746:Borlet
1241:Peirol
1144:&
1103:LĂ©onin
771:, 39).
654:taleae
623:taleae
594:minims
586:brevis
575:minims
567:minims
559:brevis
544:brevis
540:minims
532:brevis
511:taleae
478:longae
474:taleae
470:longae
458:breves
454:longae
324:Dating
282:Arthur
21:is an
2171:Spain
2156:Italy
2096:Motet
2020:Chant
2003:Carol
1998:Canso
674:talea
662:talea
658:talea
515:talea
507:color
466:rests
428:tenor
415:is a
318:canon
312:" at
270:Symon
222:King
100:Jubal
61:tenor
26:motet
417:pan-
387:and
344:and
332:The
226:and
122:and
110:and
67:and
2228:Art
2074:Lai
553:or
484:).
460:in
456:or
352:on
92:Rom
86:" (
78:: "
2310::
807:^
789:^
743:^
721:^
637:.
612:.
395:,
114:,
88:Ps
63:,
2272:→
1759:*
1676:*
1640:*
1527:*
1192:*
1148:*
1123:*
1061:?
1055:?
1023:*
993:*
985:*
913:e
906:t
899:v
784:.
159:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)