The link above gives access to the pdf of a something that I’ve written purely to post here on my blog. Rather than the anonymous peer review of the traditional journal, I thought I’d subject it to the views of the crowd. All discussion, corrections, etc. most welcome. Unlike most journal articles it is designed less as a product of my own research and more as a prompt to other people’s: I spotted the concordance I discuss here, but I’d love for someone else to run with the questions that it raises for the repertoire c.1300.
I know, too, that the bibliography on this subject — especially the issue of English traits in 13thC motets — is much more extensive than the part of it that I’ve quoted here. I didn’t want to overburden a mere blog article with a whole musicological back history when its purpose is to stimulate someone (hopefully one of my future graduate students) to further action.
[UPDATE July 2012: Matthew Thomson’s 2012 MSt dissertation looked at questions of notation, historiography, and provenance with regard to this motet and its two different manuscript instantiations; I hope he’ll present his work in public in due course!]
Rather than posting the piece as such, I thought I’d use the opportunity to learn LaTeX so I could create an attractive downloadable article for people to view online and/or print out. The file contains a complete edition of the motet Exaudi/Alme deus/TENOR, which has not, to my knowledge, been performed since the fourteenth century (go on, someone, sing it!).
[UPDATE July 2012: I’ve now also made a version in html: Link to full text html version]
[UPDATE October 2012: The Saint-Maurice version of the motet is now online]
A concordance for an early fourteenth-century motet by Elizabeth Eva Leach is licensed under a Creative Commons Attribution 3.0 Unported License.
Based on a work at http://users.ox.ac.uk/~musf0058/Dijonmotet.html.