Abstract
This article analyzes the distribution of three- and four-voice vertical sonorities in a repertoire of French ars antiqua and ars nova motets. Rather than selecting the subjectively important sonorities within a piece—an effort that would rely on the analyst’s judgment of the overarching contrapuntal goals—this study uses computational musicological methods to analyze and categorize the distribution of sonorities across individual motets and groups of motets that occur at regular time intervals across the course of the compositions. This study offers some preliminary observations and conclusions about sonority usage in the late medieval French motet repertoire.