That day, at the Ponceau Fountain, there were wild men and women, who fought and assumed many aspects, as they sang little motets
Robert and Du Mont cultivated the motet
genre in the Royal Chapel for two decades, just as the grand siecle was unfolding, laying the foundation for the motet
forms that were to flourish in French church music for the next century.
The Forty Part Motet
is a re-working of Thomas Tallis's 16th-century composition Spem in Alium, a forty-part choral composition.
The second motet
, "O Magnum Mysterium" by Spanish composer Tomas Luis di Victoria, is a more complicated piece in both its structure and how imitation is used.
Broadly speaking, Zayaruznaya's The Monstrous New Art is about text-music relations in the ars nova motet
with a focus on the period spanning 1315 to 1370.
e new recording features Benedictus, Agnus Dei and the closing chorale, God shall wipe away all tears Some wise words in'uence Motets
is the genre par excellence in the first part of the manuscript, while the presence of the Office for the Death is notable in the second, in which the verses alternated with simple polyphony and often with an instrumental passage performed by the organ or minstrels.
She composed over 200 works of different types, including a number of motets
for solo voice and continuo, some also with two violins.
Based on Thomas Tallis's Spem in Alium, The Forty Part Motet
was produced in 2001 and is now in the collection of the National Gallery of Canada in Ottawa.
The three major musical forms of this golden age outside of plainchant and hymns are the grand and petit motet
and the lemons de tenebres.
By the end of Chapter 3 Dillon's contention regarding the polytextual motet
has been well established, namely, that by virtue of its texture and its multiple texts it has the potential to explore facets of linguistic sound that poetry alone could not (p.
which will include motets
for Ascensiontide and Pentecost by Byrd, Tallis, Marenzio, Palestrina and Stanford as well as two pieces in praise of St Cuthbert, one by John Roper and the other by Paul Spicer.