While contrafactum technique is common throughout Medieval and Renaissance music, there are several contrafacta resettings that are confined within the general circle of Notre Dame practice. Two motets, Ovibus pastoris Mens seduli/(Pro ovibus) and Mes cuers est emprisones/Et pro suo, have tenors set to the same text, yet the music for each tenor comes from a different chant. This relationship between tenors has not been observed before among Notre Dame motets. The identification of these tenors means that all motets in the Madrid manuscript have known tenors.

Works: Anonymous: Ovibus pastoris Mens seduli/(Pro ovibus) (399-401), Mes cuers est emprisones/Et pro suo (406-9).

Sources: Anonymous: Alleluia: Eripe me (408-409), Et pro suo grege (409).

Index Classifications: Polyphony to 1300

Contributed by: Elizabeth Stoner