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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.
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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.
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Example of Ars Nova composed by Guillaume de Machaut, performed by Capilla Flamenca
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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 is a late medieval musical stylistic period, centered in France.
Ars nova may also refer to:
[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