Please make your voices heard above those of the three tenors.
An important caveat pertains to every comparison of motet tenors with chants, such as the one presented here and further below.
She describes the overly entrenched characterizations of sopranos as helpless and tenors as vulnerable and romantic.
The combination of all of these features establishes the tenor and function of the discourse.
The augmented tenors are, of course, not delineated with bar-line strokes as frequently as the other parts, and when coloration is 'across the bar-line', that particular bar-line stroke is omitted.
Performance of intentionally complex motet tenors probably did not pose a problem when the composers themselves were taking part in the performance of their work, and could explicate the music.
While the compositional procedures in both motets differ, the end result is nonetheless similar: both tenors end on a different final than that of their respective chant segments.
Operatic tenors are not known for their reticence.
