This is the first full-length study of the vernacular motet in thirteenth-century France, when the motet was the most prestigious type of music, filling a gap between the music of the so-called Notre Dame School and the Ars Nova of the early fourteenth century. This book takes the music and the poetry of the motet and reviews the processes of texting and retexting, and the procedures for imparting structure to the works; it considers the way we conceive genre in the thirteenth-century motet, and supplements these with principles derived from twentieth-century genre theory.

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