In the medieval period, the motet was both an applied art and a speculative discipline. It was cultivated within very exclusive social circles. The aesthetic of these groups and the overall contemporary culture allowed for extensive borrowing from and transformation of monophonic and polyphonic music to create new works. Chant developed into organum through medieval rules of consonance, as is the case with the two-part organum Sed sic eum volo. This work also happens to be an organum mensuratum, which means that rhythms exist in a concrete form within the manuscript. Such notation enables modern scholars to more closely study the harmonies and counterpoint of the work. Many motets also allude to their own music. Overall, the most important sources of quotation in the medieval motet are other polyphonic upper voices and the chansonnier repertoire.

Works: Motet: Benedicamus domino (22); Organum: Sed sic eum volo (23-24); Motet: Cest quadruble sans reason (43-44), Trois serors, sor rive mer (43-44), De vulgari eloquentia (91-93).

Sources: Chant: Benedicamus domino (22); Gradual verse: Sed sic eum volo (23).

Index Classifications: Polyphony to 1300

Contributed by: Rebecca Dowsley