The motet enté emerged from the trope tradition. First, the motet was a poetic effort, underlaying preexisting clausulae with new text. Often poets took advantage of musical repetitions, supporting them with closely related texts that thus became suitable for quotation, i.e., they acquired refrain character. Later these motets served as models for the newly composed motet enté where refrains (text and melody) were taken as points of departure and textually and musically troped.

Works: Anonymous motets Ja n'amerai autrui que vous/Pro patribus (243-44); J'ai trouvé qui m'amera/Fiat (244-48); Hé! ha! que ferai?/Pro patribus (251-52); Li dous termines m'agrée/Balaam (253-54).

Index Classifications: Polyphony to 1300

Contributed by: Andreas Giger