The tiny dismissal response (Ex. 9-17), like the penultimate section of the Kyrie, is a sixteen-measure composition exactly bisected into two taleae (plus the unmeasured final note, conventionally written as a long but held like a fermata until cut off). The tenor and contratenor are once again the most rigorously isorhythmic voices, with the others most apt to repeat their rhythms when those rhythms are most distinctive. The second half of each talea (mm. 5–8 and 13–16), where most of the hockets and syncopes occur, is fully pan-isorhythmic. Balancing that, during the first three measures of each talea (mm. 1–3, 9–11) the tenor and contratenor are briefly identical in pitch as well as rhythm. Near symmetry, near congruence, near uniformity—that is the very interesting interactive space, between sameness and difference, that Machaut loved to explore.
- 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. 1 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009014.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 1 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009014.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 1 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-009014.xml