The Ars Nova Musical Developments in the Fourteenth Century.

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Presentation transcript:

The Ars Nova Musical Developments in the Fourteenth Century

Ars novae musicae The Art of New Music) – Jehan des Murs (ca – ca. 1350) Ars nova (The New Art) – Philippe de Vitry (1291–1361)

Music from Mathematics Perfection/ Imperfection Modus, Tempus, Prolation – Tempus perfectum, prolatio major – Tempus perfectum, prolatio minor – Tempus imperfectum, prolatio major – Tempus imperfectum, prolatio minor

The Roman de Fauvel Gervais du Bus Tribum/Quoniam/MERITO [Anthology 1-24] – Philippe de Vitry – Isorhythmic motet

Isorhythm Talea (repeating rhythmic values) Color (recurring melodic pattern)

Guillaume de Machaut (ca. 1300–1377) “Last of the trouvères” “Greatest French poet of his age”

Guillaume de Machaut Felix virgo/Inviolata/ADTE SUSPIRAMUS [Anthology 1-25] – Isorhythmic motet – Musica ficta causa necessitatis (harmonically necessary adjustments) causa pulchritudinis (chromatic adjustments made “for the sake of their beauty”)

Guillaume de Machaut Chanson – “top-down style” Douce dame jolie [Anthology 1-26a] – Monophonic virelai

Guillaume de Machaut En mon cuer [Anthology 1-26b] – Polyphonic virelai – Texted cantus – Cantilena style

Guillaume de Machaut Tres bonne et belle [Anthology 1-26c] – virelai Rose, liz [Anthology 1-27] – rondeau

Guillaume de Machaut La Messe de Nostre Dame [Anthology 1-28] Polyphonic setting of the mass ordinary – Cyclic mass ordinary Kyrie Gloria Credo Sanctus Agnus Dei

Canons Literati “connoisseur's art” Machuat, Ma fin est mon conmencement (My end is my beginning, and my beginning my end) Latin rota (“round”) French chace; Italian caccia (“chase”)

Subtilitas Ars subtilior Treatise by Philippus Caserta – “Subtiliorem modum” – composing with greater subtlety – En remirant [Anthology 1-29] Ballade Lengthy passages of syncopation Interplay of perfect and imperfect values Superimposed and juxtaposed time signatures Unusual note shapes

Subtilitas Chantilly Codex – Solage, Fumeux fume (Smoky Smoke) [Anthology 1-30] Rondeau

Trecento Vernacular Music Italian “1300s” Madrigale – Vernacular poem – Two or more three-line stanzas and a ritornello Pomerium, Marchetto of Padua (1319) – Treatise on theory and notation Squarcialupi Codex (ca. 1415) – Compendium of Trecento compositions

Trecento Vernacular Music Jacopo da Bologna (1340 – ca. 1386) – Osellecto salvagio Madrigal [Anthology 1-31a] Caccia [Anthology 1-31b]

Ballata AbbaA (similar to French virelai) Francesco Landini (ca. 1325–1397) – Non avrà ma’ pietà [Anthology 1-32] “Landini cadence” Intabluation of Faenza Codex

The Motet as Political Show Convergence of French and Italian styles Northern European musicians employed in Italian courts

The Motet as Political Show Johannes Ciconia (ca. 1370–1412) – Born in Liège, employed in Padua – Doctorum principem super ethera/Melodia su avissima cantemus [Anthology 1-33]

The Motet as Political Show Guillaume Du Fay (ca. 1397–1474) – Born near Brussels, employed in various Italian courts and Pope Eugene IV – Nuper rosarum flores [Anthology 1-34] Florence cathedral dedicated to the Virgin Mary Symbolic durational proportions 6:4:2:3