The refrain cento: myth or motet?
Journal of the Royal Musical Association, 114, (2), . (doi:10.1093/jrma/114.2.164).
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Of all the genres of thirteenth-century vernacular polyphony, none is
more elusive than the so-called refrain cento. Such types of composition
as the motet ente and the motet with a single terminal refrain make
regular appearances in the literature on the thirteenth-century motet.
Most of these genres are defined by the presence or absence of a refrain,'
the musico-poetic entity which seems to drift from chanson to rondeau, to
verse narrative, to motet. The nature of the problem concerns the degree
to which the pieces which have been termed refrain cento can actually be
seen to constitute a genre. Generic considerations will therefore be given
some weight in this article
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