Abstract
El examen de motetes antiguos para dos voces revela el predominio de la línea de siete (u ocho) sílabas en los poemas. Cuando se declaman de la manera habitual, p.e., silábicamente, tanto en el primer como en el segundo modo rítmico, este verso se conforma en un marco temporal de dos dobles longas (o dos compases modernos en compás %). Los diferentes patrones de tenor que están combinados con las voces superiores, conforman el mismo marco temporal, produciendo una norma en la que las dos voces coinciden a intervalos regulares. Partiendo de esta norma se produce el paso por encima de las dos voces en interés de la variedad. De más utilidad para explicar este fenómeno, sin embargo, son, no los tratados sobre música del siglo XIII, sino, mejor, aquellos que tratan de la nueva poesía «rítmica» de la época.
Highlights
The examination of early two-voice motets reveals the prominence of the seven- syllable line in the poems
For one thing its various voices represented an intriguing meeting place for the sacred and the profane — the sacred in the form of the bottom voice taken from liturgical chant, and the profane as the upper voice or voices which could be devoted to French love songs or criticism of the clergy as well as to sacred Latin poetry
Text —both of the upper voices and of the tenor fragment— was quite literally the determining factor in the performance of these brief pieces, it was the two-voice core of the music which generally remained constant throughout the various different versions
Summary
F En un ver - gier m 'en en - trai. Ro ses coilront. The Montpellier Codex, 4 vols., Madison, Wise. The tenor of this little piece, the beginning of the Easter gradual, Haec dies, consists of a succession of equal Longs, or the fifth rhythmic mode, divided for the most part by rests into groups of four notes each.^ The text of the upper voice, a secular love poem related to the tenor by its beginning words, Hui main, is declaimed in the first rhythmic mode. Its phrases are at first regular, 7-syllable lines, each ending with an accented syllable. These lines coincide each time with four Longs (or two modern measures) in the tenor, forming a kind of regular pattern. A second example is based on a similar tenor pattern, here, divided clearly into 3 equal Longs plus a Long rest, and repeated throughout the piece;-^
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