Example 1 compares the organum tenors and the chant melodies on which they are based.
Unlike most tenors, which generated numbers of different works, the motets under discussion are the only ones known to have been composed on this chant.
Coloration was common enough in fourteenth-century motet tenors, but is rarely found in isorhythmic tenors after c. 1400.
If we have all-girls choirs where are our tenors and basses to come from?
Notably, the fifth is kept intact in the tenor's opening viderunt, and only changed in the second and third iterations.
See note 12 above, on her similar thesis regarding solus tenors.
The haute-contre line was sung by high tenors, rather than female altos or countertenors.
Operatic tenors are not known for their reticence.
