In a significant number of his motets, Guillaume de Machaut uses melodic repetition to provide audible cues to their talea structure. He further breaks or alters that repetition in order to call attention to final talea statements, thereby providing a sounding clue to the motet's end. The use of this technique in a genre well known for its intellectual complexities seems to show a special concern for the unprepared listener, a concern that is less clearly manifested in the work of other motet composers in 14th-century France. This has implications both for how we see Machaut in relation to his contemporaries and for how we may approach his motets today.
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