The playful complexity of this tenor—an arbitrary (that is, “rational”) talea that mixes mensurations and undergoes diminution by half—became a typical, even a defining feature of motets in the fourteenth century and beyond. Modern scholars use the term isorhythm (“same-rhythm”) to denote the use of recurrent patterns or taleae, often quite long and cunningly constructed, that do not rely on traditional modal ordines. Motets that employ such recurrent patterns—often, as here, varied schematically on successive colores, or even within a color—are called isorhythmic motets. Despite the Greek derivation of the term, it is a modern coinage and a German one, first used by the great medievalist Friedrich Ludwig in 1904 in a pioneering study of the motets in the Montpellier Codex.
- Citation (MLA):
- Richard Taruskin. "Chapter 8 Business Math, Politics, and Paradise: The Ars Nova." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 25 May. 2015. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-008009.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 8 Business Math, Politics, and Paradise: The Ars Nova. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 25 May. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-008009.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 8 Business Math, Politics, and Paradise: The Ars Nova." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 25 May. 2015, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-008009.xml