In his discussion of the composition process of thirteenth-century motets, Hofmann emphasizes the adaptation of the plainchant excerpt In seculum and its influence on the upper parts. He distinguishes two categories of notes, the ones in the chain of thirds including d-f-a-c'-etc. (U-class) and the ones of the chain c-e-g-h-etc. (Pu-class). Composers arranged the tenors in a rhythmic mode that would enable as many notes from the U-class to fall on a "locus impar" (Garlandia), i.e., for example, in the first mode on the first and third note of the rhythmic pattern. The upper voice is divided into the same classes of notes and organized according to similar melodic principles as the tenor. Thus not primarily rules concerning intervals but melodic features of the parts determine the consonances (Zusammenklänge) of the motet. Most vernacular motets borrow refrains, i.e., preexistent textual and musical entities that stand at the beginning of the compositional process. The tenor--hitherto believed to have been the unchangeable point of departure--undergoes changes to meet the requirements of consonance with the refrain and relationship of phrases. The composer, who most probably was also the poet, related the remainder of the motetus textually and musically to the refrain, which resulted in its optimal integration. The page numbers for the following motets are listed in the appendix of Hofmann's study (p. XV-XXII).

Works: Mout est fous qui s'entremet/Morrai je en atendant, amour/Omnes; Ma loiauté m'a nuisi/A la bele Ysabelet/Omnes; Salve, laborancium/Celi luminarium/Omnes; Chorus innocentium/In Bethleem Herodes iratus/In Bethleem; O Maria, decus angelorum/De virgula/Et confitebor; Ecclesie princeps/Et confitebor; In serena facie/In seculum; Si vere vis adherere Uti vere/Si vere vis adherere Vitis palmes/In seculum; Trop m'a amours/In seculum; Peto linis oculum/In seculum; Li douz maus/Trop ai lonc tens/Ma loiauté/In seculum; O felix puerpera/In seculum; Chascun dit/Sa j'ai amé folement/In seculum; Bien doit avoir joie/In seculum; Je cuidai mes maus celer/In seculum; Tout adés mi trouverés/In seculum; A une ajornée/Douce dame en cui dangier/In seculum; Cil brunés ne me meine mie/In seculum; Trop fu li regart amer/J'ai si mal/In seculum; La fille den Hue/In seculum; Ma loiaus pensée/In seculum; Ja n'avrés deduit de moi/In seculum; Se j'ai folloié d'amours/In seculum; Nus ne puet chanter/In seculum; Amours en boine volenté/In seculum; Lonc tens ai mon cuer/In seculum; La bele m'ocit/In seculum; J'ai trouvé qui me veut/In seculum; Ne m'a pas oublié/In seculum; Quant iver la bise/In seculum; Li maus amourous me tient/In seculum; Trop souvent me duel/Brunete, a cui j'ai mon cuer doné/In seculum; Salus virgini per quam/Hodie natus in Israhel/In seculum; Dieus! de chanter/Chant d'oisiaus/In seculum; Liés et jolis/Je n'ai joie/In seculum; Hé! trés douces amouretes/D'amours esloigniés/In seculum; L'autr'ier trouvai/L'autr'ier lés une espinete/In seculum; En son service amourous/Tant est plaisant/In seculum; La biauté ma dame/On doit fine amour/In seculum; J'ai les biens d'amours/Que ferai/In seculum; Se griés m'est au cors/A qui dirai/In seculum; Qu'ai je forfait ne mespris/Bons amis/Am in seculum; En nom Dieu, que que nus die, Trop/En nom Dieu, que que nus die, L'amour/Am in seculum; Mout me fu griés/In omni fratre tuo/In seculum; J'os bien m'amie a parler/Je n'os a m'amie aler/In seculum; L'autre jour par un matin/Au tens pascour/In seculum; O felix puerpera, Flos virginum/In seculum; Eva, quid deciperis/In seculum; Amours en cui/En mon cuer/In seculum; Resurrexit hodie/In seculum; Quant se depart/He! cuer joli/In seculum; Puisqu'en amer/Quant li jolis/In seculum; In seculum aritfex/In seculum supra/In seculum; Ja n'amerai/Sire Dieus/In seculum; ...mpendia cujus natura/O homo de pulvere/In seculum; Que demandés vous/Latus; Ja de boine amour/Ne sai tant amours/Sustinere; Li maus amourous/Dieus! pour quoi/Virgo; Q pia capud hostis/Virgo; Au douz mai/Vigro; Li douz chans des oisellons/Virgo; M'ocirés vous/Audia filia; O homo, considera/O homo de pulvere/Filie Jherusalem; Je cuidai mes maus celer Et soustenir/[??].

Index Classifications: Polyphony to 1300

Contributed by: Andreas Giger