Introduction

AbstractThe Introduction addresses problems of motet definition and classification, and surveys the seven Parts of the book. The chapters of Part I deal with theoretical issues; those of Part II deal with motets interpolated in the Roman deFauvel and some by Philippe de Vitry. Part III is devoted to Machaut, Part IV to a group of fourteenth-century musician motets, Part V deals with English motets, Part VI with Italian, and then the final Part VII with motets for Popes, motets listed in Trém, and finally Cyprus. The Introduction then summarises some of the new ways of understanding motets that the author has explored over many years and which are a common concern through the individual studies brought together here. Particular stress is laid throughout on the relationship between words and music as equal partners in the construction of these highly individual compositions, and the different ways in which their union explores meaning, including pictorially, symbolically, with onomatopoeia, alliteration or assonance, citation and allusion, and with structural and local puns. The borrowed chant tenors may be chosen for their symbolism as well as their musical properties, which may also permeate the upper parts. Finally, it addresses the question of audience: who were motets for? The primary audience was the performers themselves, who were better placed to appreciate the subtleties from inside than an unprepared listener.