Cover -- Half-title -- Title -- Copyright -- Contents -- Tables -- Musical examples -- Acknowledgments -- Notes to the reader -- Pitch notation -- Musical examples -- Introduction -- Part I: Models and methods -- 1 Approaches and analogies -- Categories have structure -- Generic evolution -- Analogies with genre -- The evolution of the medieval motet -- 2 Subgenre, interpretation, and the generic repertory -- Genre, subgenre, and interpretation -- A generic repertory for the motet -- Musical features of the generic repertory -- TEXTURE -- NUMBER OF VOICES -- VOICE RANGES -- MELODIC BEHAVIOR (LEAPS, STEPS) -- RELATIVE SPEED OF VOICES -- COORDINATION OF RHYTHM: HOMORHYTHM, POLYPHONY -- COORDINATION OF PHRASES -- REDUCED SCORING, OR USE OF RESTS -- CONSTRUCTION AND COUNTERPOINT -- HIERACHIC VS. INTEGRATED OR HOMOGENEOUS -- Other musical features of the generic repertory -- LENGTH -- NUMBER OF SECTIONS OR PARTES -- MENSURATION(S) -- LARGE-SCALE RHITHMIC ORGANIZATION -- COMPLEXITY -- USE OF PRE-EXISTENT MUSICAL MATERIAL (CPF) -- Textual features of the repertory -- NEW VS. PRE-EXISTENT TEXTS -- PROSE OR POETRY -- LENGTH -- SUBJECT MATTER -- TONE AND ASPECT -- LITERARY REFERENCES -- WAS THE TEXT WELL KNOWN OR RARE? -- DOES THE MOTET USE THE COMPLETE TAXT? IS THE TEXT COMPOSITE OR A CENTO? -- WAS THE TEXT ASSOCIATED WITH MUSIC OR NOT? -- WHAT WAS THE FUNCTION OR LITURGICAL POSITION OF THE TEXT IN ITS ORIGINAL FORM? -- Text and music together -- NUMBER OF TEXTS -- NUMBER OF TEXTEXD VOICES -- NUMBER OF NOTES PER SYLLABLE -- STRUCTURAL CORRESPONDENCES BETWEEN TEXT AND MUSIC -- Clusters of features -- 3 Fifteenth-century uses of the term "motet" -- Treatises -- Johannes Tinctoris -- Paolo Cortese -- Libri motetorum and motet singing -- Endowments -- Music manuscripts -- Modena X.1.11 -- ANTIPHON SETTING IN THE SECTION (SEE TABLE 3.1).

ANTIPHON SETTINGS IN THE MOTET SECTION -- LESSONS FROM MODENA X.1.11 -- Motets in other fifteenth-century sources -- ALL-PURPOSE COLLECTIONS (WITH AND WITHOUT SECULAR MUSIC) -- MASSES -- VESPERS MUSIC -- SECULAR MUSIC -- Conclusion -- Part II: Motets in the early fifteenth century: the case of Bologna Q15 -- 4 The motet section of Bologna Q15 and its ramifying roots -- The motet section of Bologna Q15: compilation, chronology, and contents -- Searching for subgenres -- Italian motets -- Texture, cadences and construction -- CONTRATENOR -- Form -- Text -- French isorhythmic motets -- English cantilenas -- Terminology and history -- The English cantilenas in Bologna Q15 -- FOREST'S ALMA REDEMPTORIS MATER -- The dissemination and transmission of English cantilenas -- Ramifying roots reviewed -- 5 A new hybrid subgenre: the cut-circle motet -- The origins and meaning of the cut-circle mensuration sign (Theta) -- Features of the cut-circle motet -- Composers -- Final and characteristic opening -- Floridity -- Fermatas -- Repeated-note figure in imitation -- Text types -- Borderline cases -- Mensurations and multiple sections -- Related music in other genres -- RELATED MASSES -- RELATED CHANSONS -- Concluding thoughts on the cut-circle motet -- 6 Other new hybrid subgenres -- Declamation motets -- Continental cantilenas -- Unus-chorus motets -- Retrospective double-discantus motets -- Texts -- Texture and Style -- Devotional double-discantus motets -- Other double-discantus motets -- Borderline motets -- Song settings in Bologna Q15 -- Kinds of motet -- 7 The motet in the early fifteenth century: evolution and interpretation -- Comparison with other manuscripts -- Interpretation, context, and history -- Cristoforus de Monte: Dominicus a dono (Ex. 4.1) -- Forest: Alma redemptoris mater (Ex. 4.3) -- Johannes de Sarto: Ave mater, O Maria (Ex. 5.1).

Arnold de Lantins: Tota pulchra es (Ex. 6.1) -- Humbertus de Salinis: Ihesu salvator seculi/Quo vulneratus scelere (Ex. 6.2) -- Du Fay: Supremum est mortalibus bonum -- LINES 1-2 (MM. 1-10): PRELUDE -- LINES 3-8, MM. 11-37: TALEA I AND MOST OF II -- LINE 9, MM. 38-40: END OF TALEA II -- LINES 10-12, MM. 41-57: TALEA III, TO COLOR 2, TALEA I, FIRST NOTE -- LINES 13-18, MM. 56-100: COLOR II, TALEAE I-III -- LINES 19-21, MM. 101-20: POSTLUDE -- Part III: Motets in the mid-fifteenth century: the case of the Trent Codices -- 8 Motets in the Trent Codices: establishing the boundaries -- Dates and provenance -- Establishing a repertory of motets -- Liturgical service music -- Cantiones and Leisen -- Textless pieces and contrafacta -- Overview of the repertory -- 9 English and continental cantilena-style motets -- The English cantilena: from Dunstaple and Power to Plummer and Frye -- A new musical style for settings of the Song of Songs -- OPENNING DUETS -- MENSURAL USAGE -- TEXT SETTING AND TEXTURE -- ORIGINS -- Non-Song cantilenas in Band II -- Continental cantilena-style motets -- Continental cantilenas with chant -- Continental cantilenas without chant -- Probable contrafacta -- Touront's song motets -- The end of the English cantilena -- 10 Motets with a tenor cantus firmus c. 1430-1450 -- Isorhythmic motets -- Four-voice isorhythmic motets with the top voices in the same range -- Four-voice isorhythmic motets with unequal triplum and motetus -- The three-voice tenor motet -- Contrasting approaches to the subgenre -- The three-voice tenor motet and the English tenor Mass -- The Caput Mass and the Caput texture -- 11 Freely-composed four-voice writing in transition -- The end of the double-discantus texture -- Transitional freely composed motets with a single discantus -- Two clefs, two ranges -- Tenor in the middle.

More than three voices with the tenor on the bottom -- Tenor on the bottom, three voices -- Flos de spina -- Johannes Puyllois -- Melodic style -- Imitation -- Texture -- Form and Structure -- Text and text setting -- 12 The four-voice motet c. 1450-1475 -- Four-voice song motets -- Large four-voice motets with two or more sections -- Tenor motets -- Pre-existent foreign tenor -- Double cursus -- Opening duets -- Occasional or dedicatory motets -- Motets associated with Mass cycles -- MASS-MOTET CYCLES (TABLE 12.2B.1) -- CONTRAFACT KYRIES (TABLE 12.2B.2) -- Independent devotional tenor motets -- Chant-paraphrase motets -- Between tenor and chant-paraphrase motet -- Freely composed motets -- Conclusion -- Touront: Compangant omnes (Ex. 9.3) -- Regali ex progenie/T: Sancta Maria (Ex. 10.4) -- Puyllois: Flos de spina (Ex. 11.5) -- Touront: Recordare virgo (Exx. 12.2 and 12.3) -- Ave beatissima (Ex. 12.5) and Vidi speciosam (Ex. 12.6) -- Du Fay: Ave regina celorum III -- Conclusion -- Subgenres in Bologna Q15 -- Subgenres in the Trent Codices and Modena X.1.11 -- The "contenance angloise" -- ENGLISH CANTILENAS -- ENGLISH ISORHYTHMIC MOTETS FOR THREE AND FOUR VOICES -- THE THREE-VOICE TENOR MOTET -- THE ENGLISH CYCLIC MASS -- WHY? -- Continental subgenres -- TEXTUAL EXPERIMENTATION -- NEW FOUR-VOICE SUBGENRES -- Appendix: Widely disseminated motets -- WIDELY DISSEMINATED MOTETS (FOUR OR MORE SOURCES) -- FOUR SOURCES: 7 MOTETS (2 CONTINENTAL, 5 ENGLISH [71 PER CENT]) -- Continental -- English -- FIVE SOURCES: 11 MONTHS (4 CONTINENTAL, 7 ENGLISH [64 PER CENT]) -- Continental -- English -- SIX SOURCES: 5 MOTETS (3 CONTINENTAL, 2 ENGLISH [40 PER CENT]) -- Continental -- English -- SEVEN OR MORE SOURCES: 4 MOTETS (1 CONTINENTAL, 3 ENGLISH [75 PER CENT]) -- Continental -- English -- Notes -- INTRODUCTION -- 1 APPROACHES AND ANALOGIES.

2 SUBGENRE, INTERPRETATION, AND THE GENERIC REPERTORY -- 3 FIFTEENTH-CENTURY USES OF THE TERM "MOTET" -- 4 THE MOTET SECTION OF BOLOGNA Q15 AND ITS RAMIFYING ROOTS -- 5 A NEW HYBRID SUBGENRE: THE CUT-CIRCLE MOTET -- 6 OTHER NEW HYBRID SUBGENRES -- 7 THE MOTET IN THE EARLY FIFTEENTH CENTURY: EVOLUTION AND INTERPRETATION -- 8 MOTETS IN THE TRENT CODICES: ESTABLISHING THE BOUNDARIES -- 9 ENGLISH AND CONTINENTAL CANTILENA-STYLE MOTETS -- 10 MOTETS WITH A TENOR CANTUS FIRMUS C. 1430-1450 -- 11 FREELY COMPOSED FOUR-VOICE WRITING IN TRANSITION -- 12 THE FOUR-VOICE MOTET C. 1450-1475 -- CONCLUSION -- Bibliography of books and articles -- Modern editions of music -- Sources and sigla -- Notes on the index of works -- Abbreviations for subgenre identifications in the index of works -- Index of works -- Index.