Philippe de Vitry (1291-1361) was attributed with authoring the Ars Nova treatise that redefined music composition in the early 14th century, including the isorhythmic motet. Tuba sacre/In arboris/Virgo sum is a superb example of an isorhythmic motet that makes use of both "color" and "talea." These elements are what separate the Ars Nova from the Ars Antiqua.
Tuba sacre/In arboris/Virgo sumEdit
This piece fits in the category of motet nicely having three parts, all with different text. Using "color and "talea," de Vitry sets this isorhythmic motet apart from others, of the time, by using only Latin texts. In general, early 14th century motets have three different texts in three different languages. De Vitry does however use a mixture of sacred and secular texts with the top two parts using the latter. The tenor, of course, is derived from a plainchant of the previous century.
One of de Vitry's earliest motets, Tuba sacre/In arboris/Virgo sum shows a great deal of complexity in its organization of "color" and "talea." The piece is divided into two color (the second being a diminution) that each contain three talea. The juxtaposition of two and three is not only present in the form of isorhythm, but also in the melodies themselves. Both within and between voices, duples and triples are set against each other. This allows for great variety when composing an isorhythmic motet that uses repeating notes and rhythms.
Margaret Bent and Andrew Wathey. "Vitry, Philippe fe." Grove Music Online. Oxford Music Online. Oxford University Press, accessed January 28, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/29535.
David Fallows. "Ars Nova." Grove Music Online. Oxford Music Online. Oxford University Press, accessed January 28, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/01360.