CONFLUENCE OF TRADITIONS
The motets examined thus far, all of them deriving from a specific clausula-protoype, demonstrate the descent of the motet from the liturgical repertory of Notre Dame. That is only half the story, though. A glance at another texting of the same Ex semine clausula will suggest the other half. Figure 7-4, allowing for the minor copying variants one must expect to find when comparing manuscripts, is musically identical to Fig. 7-3. The appearance of the notation, of course, is altogether different, but that difference should not mislead us. Since it comes from a Notre Dame source (our old friend W2), the notation in Fig. 7-4 is pre-mensural. The motetus and triplum are laid out in score (although the tenor is now entered separately, to save space, as in Fig. 7-3), and the notes are graphically undifferentiated as to rhythm. But by now we know that the intended rhythm is the same one represented in modal notation in Fig. 7-2a and mensural notation in Fig. 7-3.
- Citation (MLA):
- Richard Taruskin. "Chapter 7 Music for an Intellectual and Political Elite." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 7 Music for an Intellectual and Political Elite. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 7 Music for an Intellectual and Political Elite." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007004.xml
