Gennrich discusses not those refrains that are repeated after each couplet of a song (chansons à refrain), but those that exist sometimes as isolated very short pieces, sometimes interpolated in other works. They mostly have their own melodies and were created by the poets with a particular intention. Later these refrains were borrowed (with or without music) in chansons avec des refrains, long poems (such as the Cour d'Amour and the Roman de Renart le Nouvel), and motets, usually at the beginning and at the end. Sometimes they even adopt another text (contrafactum). According to Gennrich, refrains are neither folk songs nor parts of them. They were, however, originally conceived as refrains and not designated as such merely because they appear in several pieces. The end of the article includes a list of motet-refrains.

Works: Jacquemart Gielee: Renart le Nouvel (366); Mahius li Poiriers: Cour d'Amour (367); Messire Thibaut: Roman de la Poire (367); Anonymous: Salut d'Amour ((367-68); refrains "Qui aime Dieu et sa mere" (373); "Sache qui m'ot" (373); "Cui donderai je mes Amours, mere Dieu" (373); "Ne vous hastés mie, bele" (373); "Pitiés et Amours, pour mi" (373); "Amours ne se done, mais ele se vent" (374); Si come aloie/Deduisant/Portare (374); Haro! haro! je la voi la/Flos filius eius (377); Je quidai mes maus/In seculum (377); Je m'en vois/Tieus a mout/Omnes (378).

Index Classifications: Monophony to 1300, Polyphony to 1300

Contributed by: Andreas Giger