Page of the French manuscript Livres de Fauvel, Paris, B.N. fr. 146 (ca. 1318), "the first practical source of Ars nova music". [1]

Ars nova refers to a musical style which flourished in France and the Burgundian Low Countries in the Late Middle Ages: more particularly, in the period between the preparation of the Roman de Fauvel (1310 – 1314) and the death of the composer Guillaume de Machaut in 1377 (whose poems were a large inspiration for Johannes Ciconia) . Sometimes the term is used more generally to refer to all European polyphonic music of the 14th century, thereby including such figures as Francesco Landini, who was working in Italy. Occasionally the term "Italian ars nova" is used to denote the music of Landini and his compatriots (see Music of the Trecento for the concurrent musical movement in Italy). In ancient and medieval Latin the term ars nova does not mean "new art", but rather "new technique",[2] and was first used in two contemporaneous manuscripts, titled Ars novae musicae (New Technique of Music) (c. 1320) by Johannes de Muris, and Ars nova notandi (A New Technique of Writing [Music]) attributed to Philippe de Vitry (c. 1322). However, the term was only first used to describe an historical era by Johannes Wolf in 1904.[3]

Ars nova is generally used in conjunction with another term, ars antiqua, which refers to the music of the immediately preceding age, usually extending back to take in the period of Notre Dame polyphony (therefore covering the period from about 1170 to 1320). Roughly, then, the ars antiqua is the music of the thirteenth century, and the ars nova the music of the fourteenth; many music histories use the terms in this more general sense.

Controversial in the Roman Catholic Church, the music was starkly rejected by Pope John XXII, but embraced by Pope Clement VI. The monophonic chant, already harmonized with simple organum, was becoming altered, fragmented, and hidden beneath secular tunes. The lyrics of love poems might be sung above sacred texts, or the sacred text might be placed within a familiar secular melody. It was not merely polyphony that offended the medieval ears, but the notion of secular music merging with the sacred and making its way into the liturgy.

Contents

Ars nova versus Ars antiqua [link]

Stylistically, the music of the ars nova differed from the preceding era in several ways. Developments in notation allowed notes to be written with greater independence of rhythm, shunning the straitjacket of the rhythmic modes, which prevailed in the thirteenth century; secular music acquired much of the polyphonic sophistication previously found only in sacred music; and new techniques and forms, such as isorhythm and the isorhythmic motet, became prevalent. The overall aesthetic effect of these changes was to create music of greater expressiveness and variety than had been the case in the thirteenth century.[4] Indeed the sudden historical change which occurred, with its startling new degree of musical expressiveness, can be likened to the introduction of perspective in painting, and it is useful to consider that the changes to the musical art in the period of the ars nova were contemporary with the great early Renaissance revolutions in painting and literature.

The greatest practitioner of the new musical style was undoubtedly Guillaume de Machaut, who also had an equally distinguished career as a canon at Reims Cathedral and as a poet. The ars nova style is nowhere more perfectly displayed than in his considerable body of motets, lais, virelais, rondeaux, and ballades.

Towards the end of the fourteenth century a new stylistic school of composers and poets centered on Avignon in southern France developed; the highly mannered style of this period is often called the ars subtilior, though some scholars choose to consider it a late development of the ars nova rather than breaking it out as a separate school. This strange but interesting repertory of music, limited in geographical distribution (southern France, Aragon and later Cyprus), and clearly intended for performance by specialists for an audience of connoisseurs, is like an endnote to the entire Middle Ages.

Example [link]

Example of Ars Nova composed by Guillaume de Machaut, performed by Capilla Flamenca

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Discography [link]

  • Chants du xivème siècle. Mora Vocis Ensemble. France: Mandala, 1999. CD recording MAN 4946.
  • Denkmäler alter Musik aus dem Codex Reina (14./15. Jh.). Syntagma Musicum (Kees Otten, dir.). Das Alte Werk. [N.p.]: Telefunken, 1979. LP recording 6.42357.
  • Domna. Esther Lamandier, voice, harp, and portative organ. Paris: Alienor, 1987. CD recording AL 1019.
  • La fontaine amoureuse: Poetry and Music of Guillaume de Machaut. Music for a While, with Tom Klunis, narrator. Berkeley: 1750 Arch Records, 1977. LP recording 1773.
  • Guillaume de Machaut. Je, Guillaumes Dessus Nommez. Ensemble Gilles Binchois (Dominique Vellard, dir.). [N.p.]: Cantus, 2003. CD recording 9804.
  • Guillaume de Machaut. La Messe de Nostre Dame und Motetten. James Bowman, Tom Sutcliffe, countertenors; Capella Antiqua München (Konrad Ruhland, dir.). Das Alte Werk. Hamburg: Telefunken, 1970. LP recording 6.41125 AS.
  • Guillaume de Machaut. La messe de Nostre Dame; Le voir dit. Oxford Camerata (Jeremy Summerly, dir.). Hong Kong: Naxos, 2004. CD recording 8553833.
  • Guillaume de Machaut. Messe de Notre Dame. Ensemble Organum (Marcel Pérès, dir.). Arles: Harmonia Mundi, 1997. CD recording 901590.
  • Guillaume de Machaut. Messe de Notre Dame; Le lai de la fonteinne; Ma fin est mon commencement. Hilliard Ensemble (Paul Hillier, dir.). London: Hyperion, 1989.
  • Guillaume de Machaut. Motets. Hilliard Ensemble. Munich: ECM Records, 2004.
  • Philippe De Vitry and the Ars Nova—Motets. Orlando Consort. Wotton-Under-Edge, Glos., England: Amon Ra, 1990. CD recording CD-SAR 49.
  • Philippe de Vitry. Motets & Chansons. Sequentia (Benjamin Bagby and Barbara Thornton, dir.) Freiburg: Deutsche Harmonia Mundi, 1991. CD recording 77095-2-RC.
  • Roman de Fauvel. Jean Bollery (speaker), Studio der Frühen Musik (Thomas Binkley, dir.). Reflexe: Stationen europäischer Musik. Cologne: EMI, 1972. LP recording 1C 063-30 103.
  • Le roman de Fauvel. Anne Azéma (soprano, narration), Dominique Visse (countertenor, narration), Boston Camerata and Ensemble Project Ars Nova (Joel Cohen, dir.). France: Erato, 1995. CD recording 4509-96392-2.
  • The Service of Venus and Mars: Music for the Knights of the Garter, 1340–1440. Gothic Voices (Christopher Page, dir.). London: Hyperion, 1987. CD recording CDA 66238.
  • The Spirit of England and France I: Music of the Late Middle Ages for Court and Church. Gothic Voices (Christopher Page, dir.). London: Hyperion Records, 1994. CD recording CDA66739.
  • The Study of Love: French Songs and Motets of the 14th Century. Gothic Voices (Christopher Page, dir.). London: Hyperion Records, 1992. CD recording CDA66619.
  • Zodiac, Ars Nova and Ars Subtilior in the Low Countries and Europe, Capilla Flamenca, 2004 (Eufoda 1360)

Notes [link]

References and further reading [link]

  • [citation needed] (1980). "Ars nova". The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. 20 vols. London: Macmillan Publishers Ltd. ISBN 1-56159-174-2
  • Earp, Lawrence (1995). "Ars nova". In Medieval France: An Encyclopedia, edited by William W. Kibler, Grover A. Zinn, Lawrence Earp, and John Bell Henneman, Jr., 72–73. Garland Reference Library of the Humanities 932; Garland Encyclopedias of the Middle Ages 2. New York: Garland Publishers. ISBN 978-0-8240-4444-2.
  • Fallows, David. (2001). "Ars nova". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
  • Fuller, Sarah (1985–86). "A Phantom Treatise of the Fourteenth Century? The Ars Nova". The Journal of Musicology 4, no. 1 (Winter): 23–50.
  • Gleason, Harold, and Warren Becker (1986). Music in the Middle Ages and Renaissance. Music Literature Outlines Series 1. Bloomington, Indiana: Frangipani Press. ISBN 0-89917-034-X
  • Hoppin, Richard H. (1978). Medieval Music. New York: W. W. Norton & Co. ISBN 0-393-09090-6
  • Leech-Wilkinson, Daniel (1990). "Ars Antiqua—Ars Nova—Ars Subtilior". In Antiquity and the Middle Ages: From Ancient Greece to the 15th Century, edited by James McKinnon, 218–40. Man and Music. London: Macmillan Publishers. ISBN 0-333-51040-2 (cased); ISBN 0-333-53004-7 (pbk).
  • Schrade, Leo (1956). "Philippe de Vitry: Some New Discoveries". The Musical Quarterly 42, no. 3 (July): 330–54.
  • Snellings, Dirk (2003). "Ars Nova and Trecento Music in 14th Century Europe" (retrieved on 2008-06-14), translated by Stratton Bull, 12. CD Booklet CAPI 2003.


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Early Netherlandish painting

Early Netherlandish painting refers to the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance; especially in the flourishing cities of Bruges, Ghent, Tournai and Brussels. Their work follows the International Gothic style and begins approximately with Robert Campin and Jan van Eyck in the early 1420s. It lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568. Early Netherlandish painting coincides with the Early and High Italian Renaissance but is seen as an independent artistic culture, separate from the Renaissance humanism that characterised developments in Italy. Because these painters represent the culmination of the northern European medieval artistic heritage and the incorporation of Renaissance ideals, they are sometimes categorised as belonging to both the Early Renaissance and Late Gothic.

Ars nova (disambiguation)

Ars nova is a late medieval musical stylistic period, centered in France.

Ars nova may also refer to:

Visual arts

  • Ars nova (art), the period of painting also known as Early Netherlandish or the Flemish primitives
  • Music

  • Ars nova, style in medieval music
  • Project Ars Nova, a medieval ensemble featuring Crawford Young
  • Ars Nova Copenhagen, a Danish choir conducted since 2002 by Paul Hillier
  • Ensemble Ars Nova, a French classical instrumental ensemble led by Philippe Nahon
  • Ars Nova Singers, Boulder, Colorado
  • Ars Nova (Polish ensemble), instrumental ensemble of Jacek Urbaniak, collaborating with Collegium Vocale Bydgoszcz
  • Ars Nova (American band), a classical-rock group, based in New York City, 1967–1969
  • Ars Nova (Japanese band), a progressive rock band, based in Japan, 1983–present
  • Theatre

  • Ars nova, a treatise on 14th-century music, possibly written by Philippe de Vitry
  • Ars Nova (theater), an off-Broadway theater
  • TV

  • Arpeggio of Blue Steel -Ars Nova-, the television adaptation of the Arpeggio of Blue Steel manga
  • Podcasts:

    developed with YouTube
    PLAYLIST TIME:

    Ars Nova

    by: Martyr

    [Musique: Daniel Mongrain (with the collaboration of François Mongrain)]
    [Paroles: François Mongrain]
    [Un cadavre repose dans son sang, une vision figée dans le temps; Profanation de l'âme d'un mourant, L'utilisation de la mort pour la gloire de l'argent. Et certains osent appeler ça de l'art.]
    [DM-] A BLOODY HAND COLLAPSED
    ON THE SOILED GROUND
    IT`S FLUID OF LIFE STREAMING
    THROUGH THE EARTH`S ENTRAILS
    A GOOD ANGLE IS NOT A PROBLEM TO CATCH
    THOSE EXPRESSIONS THAT WILL LAST
    PERFECT MODELS FOR THE EXPOSURE
    BUT IN AN ART GALLERY
    WHY DON`T THEY LET THOSE CORPSES DISAPPEAR
    'CAN'T CALL THIS IMMORTALITY
    [DM+FM-] ARS NOVA, DESECRATION
    ARS NOVA, NORMALIZATION ATTEMPT
    [DM-] THEY WANT TO SEE THEMSELVES AS ARTISTS
    WITH THE FINEST AESTHETIC
    BUT I SEE THIS AS VANDALISM
    WITH NO RESPECT FOR THE DYING
    PRIVILEGE OF SOME PHOTOGRAPHIES
    SACRILEGE OF WHAT THEY SEE
    PRIVILEGE OF SOME ATROCITIES
    DESECRATION
    [Lead: Daniel Mongrain]
    [DM+FM-] ARS NOVA, DESECRATION
    ARS NOVA, NECROPHILLIC TEMPTATION
    [DM-] PERFECT MODELS FOR THE EXPOSURE
    BUT IN AN ART GALLERY
    [DM+FM-] WHY DON`T THEY LET THOSE CORPSES DISAPPEAR
    'CAN'T CALL THIS IMMORTALITY




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