THE LUXURIANT STYLE
At their most luxuriant, Machaut’s textures could accommodate four voices: the “structural” cantus/tenor pair, accompanied by both a triplum and a contratenor. This texture, which we have already observed in Ex. 8-6, was in effect a blending of the traditional motet complement (which included a triplum) with the newer cantilena complement (which included a contratenor). It was a rich all-purpose texture that could be adapted either to motet or to chanson designs.
- Citation (MLA):
- Richard Taruskin. "Chapter 9 Machaut and His Progeny." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 28 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 9 Machaut and His Progeny. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 28 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 9 Machaut and His Progeny." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 28 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009006.xml