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GENERAL CHARACTERISTICS 355<br />

an instrumentalist, either with them or on the organ bench, sustain<br />

ing or reinforcing the lowest part. Perhaps in some places singers<br />

in the stalls on either hand will be maintaining the tenor: they will<br />

know the tune and will not need special books, and the metrical<br />

pattern of the tune needed for singing in the motet will be controlled<br />

by the hand or baton of one of the singers at the lectern. Manuscripts<br />

are known (the Madrid manuscript in particular) in which the upper<br />

parts are given without the tenor, and a practice such as that sug<br />

gested (which is frankly hypothetical) would account for the existence<br />

of such incomplete part-books. But it was not long before the motet<br />

went out from this cradle into the wider range of choral singing on<br />

other occasions, not only in the church but also in the banqueting<br />

hall. French texts (which should often be more accurately described<br />

as Anglo-French, Anglo-Norman, or Norman-French) soon began<br />

to make their appearance for one or both of the upper voices, and<br />

still later on for the tenor. We shall return to these in the next<br />

chapter.<br />

SOURCES OF THE PERIOD<br />

To the list given at the head of Chapter X must now be added the<br />

following: 1<br />

Montpellier, Bibl. Universitaire, H 196<br />

Bamberg, Ed. IV 6<br />

Turin, Bibl. reale, vari 42<br />

Paris, Bibl. Nat. fr. 146<br />

12615<br />

British Museum, Add. 27630<br />

Worcester, Chapter Library, Add. 68, fragments ix-xxxv<br />

British Museum, Add. 25031<br />

Oxford, Bodleian Library, Lat. liturg. d 20<br />

Hatton30<br />

New College 362<br />

Of these manuscripts the first six are the most extensive: they are all<br />

French in origin. The seventh (Brit. Mus. Add. 27630) was probably<br />

written at Indersdorf in Bavaria. The others are all of English origin,<br />

but no large anthology of motets written in England has survived<br />

intact; there are traces of three collections of a hundred or so, of<br />

which the oldest is probably that listed in Brit. Mus. Harley 978.<br />

The music of this has all disappeared, though much of it can be re<br />

constructed from other sources; but the titles remain. It contains the<br />

1 Other manuscripts, shorter or of minor importance, will be found listed in vol. Hi.

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