ABSTRACT
Broadly speaking, two opposing tendencies are to be seen in early fifteenth-century music : the continued cultivation of the artificial manner of the late fourteenth century, and the replacement of this by a new simplicity of style. In the case of church music, however, a rather different situation existed, in which the contrast was between the isorhythmic motet and a whole variety of functional liturgical styles. This opposition was not really resolved until the Mass replaced the motet as the main form of sacred music around 1450.
