Miller1 LarryMiller MusicHistoriographyI,MH247 AucunVontAmorQuiCorKyrie 27September2013

Miller2 AnanonymouslycomposedmotetfeaturesasecularFrenchtextdescribingthevalueof trueandloyallove,aLatintextdepictingthedangersofearthlylove,andtheKyriechanttogether, intertwiningtheirliterary,emotional,andmusicalideastocreateastrongannouncementabout thesearchforatrue,Godlylove.Writteninthreeparts,thismotetwouldlikelybeclassifiedas organumtriplum.Duetothisstyleofwriting,theuseofaseculartext,andtheuseoftheFrench language,thepiece,howeveranonymous,canbeattributedtothe12thcentury.Theinteraction ofthesethreevoicessetthecompositionupforanevocativeperformance. Fundamentally,choralpiecesofthisnaturearecomposedbyusingaknown,preexisting chantforthefoundationoftheharmonicstructure.Thischantisusuallysetforthelowestvoice, usinglong,sustainedrhythmsabovewhichtheothervoiceswillsingmoremelismatic passages.ThesameistrueforthismotettheKyrieisplacedonthebottomvoicewithoutany rhythmicarticulation.Thesepitchesaresolelytoprovideaharmonicstructureforthemelodic linesoftheduplumandtriplum,thetwoothertextssetforhighervoices. Thesecondvoice,usingtheLatintext,movesfairlymoderately.Thetextrevolvesaround theideaofearthlylovebeinglesserthantheimportanceofworship.ThelowringingKyrieand thisduplumtextalonecreateaverystandardorganumduplumpiece.Betweenthesetwo voices,thecadentialpointsalwayslineuptoperfectfourths,perfectfifths,oroctaves.Theuse ofsuchperfectintervalsatclosingpointsisessentialtothewritingoftheseorganumduplum works. Thethirdvoice,carryingthesecularFrenchtext,iswrittenmoreintricately.TheFrench textisthelongestofthethree,sothelyricsmovefasterthroughoutthework.Evenso,thereare afewdrawnout,melismaticsectionsthatemphasizethetext.Forexample,theword loiaumentinm.4isgreatlyembellishedtostrengthentheideaofaloyallove.Withtheaddition

Miller3 ofthiscomplexmelodicline,thepiecefallsintotherealmoforganumtriplum.Theformatis correct,creatingamultilayeredtexturebetweenthestagnant,chantinglowvoice,amoderate secondvoice,andaquicklymovingthirdvoice. Havingalternatingcadentialpoints,thetwotextscreateaconversationwithoneanother. Togivethemessagepower,thecomposeroftenplacesthesetextstooverlapduringcontrasting ideas.Thisalsoforeshadowsthetextsnegativeendings.IntheFrenchtext,thepassageends withasharpcontrastbetweenatruthfulloveandamisguidedtrust.IntheLatintext,thefinal messagesaysthattobeharmedbyanearthlyloveistolovetheLordless. Theideasofthesepassagesareexpressedinsuchawaythat,despitehowsimilarthe messagesare,thecyclesbetweenpositiveandnegativeinthetextscrossduringimportant cadentialpointsinthepiece. Forexample,astheFrenchtextexplorestheideaofloyaltyontheaforementioned melisma,theLatintextresonatesonthewordvulnerat,ortowounds.Thisironicintercourse betweenthevoicescontinuestogiveadarkcolortothepiece.Inm.9,theFrenchtextplays aroundwiththehappythoughtsofgood,honestbreedingastheLatintext,again,darkensthe tonewithspeechofearthly,lustfullove.Theaudiencecansensethistension,especiallysince thecadentialpointsdonotlineupuntilthefinalcadencetheideaskeepflowingwithaliquid movementwithoutanyrestingpoint. Inm.26,theclimaxofthepiece,apositivelightisshowninthetwomelodies.Speakingof truelove,theFrenchtextreachesitshighestmelodicline.TheLatintextcomplementsthiswith thetextExquoplusdiligitur,orfromwhichwelovemore.Notsosurprisingly,theironic dichotomyisbroughtbackinm.31.Changingtonalitytoemphasizethehappinessofthisidea, theFrenchtextissetwithaflowingmelismaonthethoughtofloveandhumility.However,the

Miller4 Latintextagainpullsinwiththewordlabitur,ortoslip,discussinghoweasilyearthlylovemay slipthroughonesfingers.Finally,thepieceendswiththeconnectednegativityofthetexts. ComparingthediscoveryofadishonestlovertolovingtheLordlessthanearthlymusings,the piececomestoacloseinaprovocativeway.TheunderlyingKyrieEleison,orLord,have mercy,chantisalsothusconcluded.