ABSTRACT
The three 'Entre' tripla are closely related and relatively idiosyncratic in their content, describing life 'between' certain young friends, who are explicitly named at the outset. This chapter describes the 'Entre' motets in their broader monophonic context and engages with questions of chronology and modelling. It focuses on conceptualisations of musical community and geography within the final fascicles of Mo, demonstrating that these layers of the motet repertoire betray a particular interest in describing and naming groups of musical companions, at least some of whom were also composers. In song texts, there is a long and widespread practice in which 'Entre' initiates the naming of specific places and characters. The motet Entre Copin et Bourgois, surviving exclusively in sources also containing Entre Adam et Haniket, likewise depicts the activities of young friends, but in a more up-to-date musical idiom. In addition to their preoccupation with people and places, the six motets reveal their interest in acts of communal music-making.
