caa a22 4500 388113529 CHVBK 20180307125359.0 cr unu---uuuuu 161130e199910 xx s 000 0 eng 10.1017/S0961137100001662 doi S0961137100001662 pii (NATIONALLICENCE)cambridge-10.1017/S0961137100001662 Clark Alice V. New tenor sources for fourteenth-century motets [Elektronische Daten] [Alice V. Clark] The study of the medieval motet in France has recently been rejuvenated, in part by returning to the motet's point of origin - its tenor. Some scholars have focused on the tenor's pitch content, showing how it shapes the motet's harmonies, and how it is in turn shaped by local chant variants; others, by considering the tenor's text and the origin of that text in the liturgy and frequently in the Bible, have shown the motet to be perhaps the quintessential musical manifestation of medieval intertextuality. By bringing together sacred and secular, Latin and vernacular, the motet, better than any other musical genre, exemplifies both the Boethian ideal of music as something much larger than sound and the interconnectedness of all things in the medieval mind. The discovery of hitherto unknown chant sources for motet tenors is therefore an opportunity to reinterpret the texts of the motets they underpin. Copyright © Cambridge University Press 1999 Plainsong and Medieval Music Cambridge University Press 8/2(1999-10), 107-131 0961-1371 8:2<107 1999 8 PMM https://doi.org/10.1017/S0961137100001662 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0961137100001662 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Clark Alice V. NATIONALLICENCE 773 0- Plainsong and Medieval Music Cambridge University Press 8/2(1999-10), 107-131 0961-1371 8:2<107 1999 8 PMM CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 077214595 BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge