Abstract
Abstract These two motets are analysed, with full transcriptions of texts and music. The verbal ‘quotations’ in Tribum are shown to be as foundational as the chant tenor; the motet was planned on these twin pillars, neither being completed before the other. Devices such as repeated words, puns, vowel rhyme and word painting unifying the voices are as carefully placed as the musical counterpoint. Garrit gallus uses comparable verbal and musical strategies. Minim stems in later sources of both motets confirm the presumed default reading of the semibreve forms in Fauvel. Continuing the argument of Chapter 3, the three Marigny motets (these two, with Aman novi, Chapter 5) may be by Vitry; they were planned together, with musical citations and textual reference between them, notably their evocation of Ovid and other Classical and biblical texts.
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