Recently, however, Michael Lanford has noted that " of the 148 double and triple motets in fascicles two through five of the " Montpellier Code " x, 114 have repeating colores . " After analyzing several motets, he also demonstrates that " each of Richard Hoppin's'three isorhythmic procedures'which inform'future developments of the form'can be found in select tenors from the Old Corpus [ of the " Montpellier Codex " ], often in ways that demonstrate resourceful approaches to managing the rhythmic modes . " For these reasons, Lanford contends that " by glossing over the presence of isorhythmic techniques in thirteenth-century motets, such as those found in fascicles two through five of the " Montpellier Codex ", scholars have thus limited the appellation of'isorhythm'using criteria that is well-reasoned, yet perhaps unnecessarily restrictive ."
