THE “PETRONIAN” MOTET
ex. 7-8 Transcription of Fig. 7-8
To close our discussion of the thirteenth-century motet we can turn to the pair that opens the seventh fascicle of Mo. On the basis of citations by fourteenth-century writers they are attributed to a shadowy but evidently important composer and theorist named Petrus de Cruce (Pierre de la Croix?) in the treatises. These two motets, and another half dozen with similar characteristics (therefore also conjecturally ascribed to Petrus), are in a very special style that takes the device of rhythmic stratification to the very limit that contemporary notation allowed. Further, in fact, because Petrus modified Franconian notation and its attendant textures so as to exaggerate the layering effect.
- 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. 8 Dec. 2019. <https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007009.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 8 Dec. 2019, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007009.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 8 Dec. 2019, from https://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-007009.xml
