Dufay, as a composer of the Burgundian school, is directly influenced, in his motets, by the Burgundian chanson, i.e., a dominant melodic treble solo with coupled tenor and contratenor parts. A rather transparent texture is thus achieved allowing for easy recognition of the tenor cantus firmus (Gregorian chant). This is unlike the medieval motet where the Gregorian melody is either buried or distorted by long, drawn-out notes. Dufay's L'Homme arme (HAM #66 P. 71) carries a clear depiction of the cantus firmus melody in the tenor which is not distorted or drawn out appreciably--tenor melody measures 5 on. Furthermore, this cantus firmus is placed in the tenor which allows for more harmonic freedom in the bass, and, consequently, in the alto and superius parts. Notice the many thirds abounding in between the top two voices with lyrical, step-wise motion in the individual parts--measures 1 and 2, soprano: G,A,B,C,B,D, is an example; the bass is therefore free to complete the triadic harmonies above--measures 1 and 2 where the Bass G and A forms 3rds and 6ths with the above notes. The transparent "Burgundian-chanson" influenced "Alma Redemptous Mater," HAM P. 70 (3 parts) further exemplifies the fauxbourdon harmonies of the Bgundian motet, i.e., intervals of a 6th with the added tenor a 4th below the superius: 3rd score, P. 71, measures 8 and 9 are good examples of this. The top voice also clearly predominates the other parts--notice its solo entrance with greater melismatic passages (measures 8-12, 3rd score)--again this is typical of the influence of the Burgundian chanson in Dufay's motets.

Ockeghem and Obrecht are products of the middle Renaissance tradition in which a 4-part a capella style predominates. This is unlike the 3-part transparent Burgundian motets of Dufay which may very well have also had instrumental insertion or doubling. There are no examples of Ockeghem motets here--his mass Missa Mi-Mi will have to suffice here as an example of 4-part interplay with mild imitation (paired imitation--top score, measure 5, 2nd score, measure 4, P. 44 of Schermer's score). Long, drawn-out phrases with few cadences and rests predominate--example: P. 45, all parts have long melodic phrasing--disguised cadence, 3rd score, measure 3.

Obrecht's style may be designated as "Ockeghem turned manneristic" in which imitation, full harmony and more clear-cut phrasing with IV-I and V-I cadences are found. HAM P. 80, #76, O beate Basili: In this motet we find imitation between soprano and tenor and strict canon (measures m 5, top score, tenor, and measure 8, alto) between the tenor and alto at the 5th. At this time we also begin to see characteristic traits which easily define the composer, i.e., Obreht's use of parallel 10ths: 2nd score, measure 4; 3rd score, measures 1 and 5; 4th score, measure 4. Notice, also, full triadic harmonies, P. 81, 2nd score, measures 6, 7, 8, in which, during this time, these become the "perfect" consonances (rather than the older, Church modes).

With Josquin, we begin to find a closer association of words with music in which his chordal style helps manifest the rather (HAM # 90, P. 92) sombre, heavy-spirited atmosphere evoked by the text: "Thou art the refuge of the poor, alleviation of weakness, hope of the exiled, strength of the heavy laden." Note 2nd score (P. 93), measures 2-12 in which voice-pairing clearly echo the pairing of the texts.

Before we reach Palestrina, however, it is noteworthy to see the "manneristic" styles which evolved in the late 16th century motet, i.e., imitation becomes too consistent (HAM # 114, P. 118) with no desire for relief which would be found by a motet containing both imitation AND chordal or "familiar" styles. The result, of course, is a burying of text and a heavy polyphony away from the simplicity so desired by the Church. Thus, Palestrina is related to the Counter-Reformation (The Council of Trent) in which there is a movement back to the "classical" motet, i.e., easy, long-breathed, step-wise melody with few instances of dissoances or consistent imitation --HAM # 140, P. 152--here, frequency of bass movements by 4ths and 5ths abound which, importantly, help define a strong cadence (this is unlike Ockeghem who covers his tonal centers)--cadence on C, measure 15, reached by the bass moving by 5ths, i.e., G to C.

As we can see, then, the Renaissance motet takes on various forms and influences which, seen as a whole, might be viewed as almost cyclic: Dufay's Burgundian motet with relatively simple, transparent textures Ockeghem and Obrecht's increasing thickening of texture with increasing imitation Des Pres' close adherence to music and text with consequent greater expression at the expense of form Gombert's manneristic motet where imitative techniques are exhausted finally, we reach Palestrina where again, simplicity and classical purity are characteristic of the "Ideal" motet.