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The Ars Nova

The Ars Nova. Musical Developments in the Fourteenth Century. Ars novae musicae The Art of New Music) Jehan des Murs (ca. 1290 – ca. 1350) Ars nova (The New Art) Philippe de Vitry ( 1291–1361 ). Music from Mathematics. Perfection/ Imperfection Modus, Tempus, Prolation

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The Ars Nova

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  1. The Ars Nova Musical Developments in the Fourteenth Century

  2. Ars novae musicaeThe Art of New Music) • Jehan des Murs(ca. 1290 – ca. 1350) • Ars nova (The New Art) • Philippe de Vitry (1291–1361)

  3. Music from Mathematics • Perfection/ Imperfection • Modus, Tempus, Prolation • Tempus perfectum, prolatio major • Tempus perfectum, prolatio minor • Tempus imperfectum, prolatio major • Tempus imperfectum, prolatio minor

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

  5. Isorhythm • Talea(repeating rhythmic values) • Color (recurring melodic pattern)

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

  7. Guillaume de Machaut • Felix virgo/Inviolata/ADTE SUSPIRAMUS [Anthology 1-25] • Isorhythmic motet • Musicaficta • causanecessitatis(harmonically necessary adjustments) • causapulchritudinis(chromatic adjustments made “for the sake of their beauty”)

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

  9. Guillaume de Machaut • En moncuer[Anthology 1-26b] • Polyphonic virelai • Texted cantus • Cantilena style

  10. Guillaume de Machaut • Tresbonne et belle [Anthology 1-26c] • virelai • Rose, liz[Anthology 1-27] • rondeau

  11. 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

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

  13. Subtilitas • Arssubtilior • Treatise by Philippus Caserta • “Subtilioremmodum” – 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

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

  15. 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

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

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

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

  19. The Motet as Political Show • Johannes Ciconia (ca. 1370–1412) • Born in Liège, employed in Padua • Doctorumprincipem super ethera/Melodiasuavissimacantemus[Anthology 1-33]

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

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