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Later Medieval Polyphony

Later Medieval Polyphony. Later Medieval Polyphony. Tendency After 1200: non-liturgical music motet secularization isorhythm. Ars nova (~1320–80). Philippe de Vitry (1291-1361) Ars nova (“New Art”), c. 1320 (takes preceding epoch—the Notre Dame school—as “ars antiqua” [ancient art])

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Later Medieval Polyphony

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  1. Later Medieval Polyphony

  2. Later Medieval Polyphony • Tendency After 1200: • non-liturgical music • motet • secularization • isorhythm

  3. Ars nova (~1320–80) • Philippe de Vitry (1291-1361) • Ars nova (“New Art”), c. 1320 (takes preceding epoch—the Notre Dame school—as “ars antiqua” [ancient art]) • French composer, theorist and bishop. Considered one of the leading intellectuals of his time, Vitry’s scholarship and dedication were warmly praised by Petrarch, who regarded him as “the unparalleled poet of France.”

  4. Vitry's treatise "Ars nova"

  5. Guillaume de Machaut • 1300-1377, French poet and musician, greatly admired by contemporaries as a master of French versification and regarded as one of the leading composers of the Ars nova musical style of the 14th century. • He was the last great poet in France to think of the lyric and its musical setting as a single entity.

  6. Isorhythm • the organizing principle of much of 14th-century French polyphony • the term was coined around 1900 by the German musicologist Friedrich Ludwig. • a rhythmic pattern (talea) is repeated throughout an entire composition • since the talea needs not have the same length as the melodic pattern (color), the rhythmic repetitions are hardly audible

  7. Machaut: “Agnus Dei” from Messe de Notre Dame • Agnus I/III: 2× talea (1×color) • T ¬. |  ¬ | ä  |  ¬ | ä  |  ¬ | ¬. | ¬.B ¬. |ä  |  ä  |  ¬ |  ä  |ä  |  ¬ | ¬. • Agnus II: 6 × talea (1×color) • T ¬. |  ä |ä ¬ | ¬.B ¬. |  |  ä  | ¬.

  8. Machaut: “Agnus Dei” from Messe de Notre Dame

  9. Ars nova: Genres • Johannes Grocheio (~1300 Paris), De Musica: • Organum • for the church • Conductus: for the court • Motetus • for connoisseor • Hoquetus • for cholerics and the youth

  10. Organum: single text, for the church

  11. Conductus: • for the court • free tenor • free religious text • homophonic

  12. Conductus

  13. Motetus: multi-text, harmonic (4, 5, 8), for connoisseor

  14. isorhythm! “Hoquetus is a cut-up song, composed for 2 or more voices. This kind of song is pleasing to the hot-tempered and to the young men on account of its fluidity and speed.” (Grocheio) T1 C1 T2 Alleluja-Verse T3 T4 C2

  15. Ars nova: French Secular Genres • “forme fixe”, fixed form: • Ballade (balar = to dance): aab I II III Envoi (final dedicatory stanza)aabR aabR aabR bR • Virelai (virer = alteration, lai = song): A bba AR I R II R III RA bba A bba A bba A • Rondeau (ronde = circle): AB aA ab AB I II III IVAB aA ab AB

  16. a Ballade (aabR) b R

  17. Virelai • Virelai (virer = alteration, lai = song): A bba AR I R II R III RA bba A bba A bba A a b

  18. Rondeau • Rondeau (ronde = circle): AB aA ab AB I II III IVAB aA ab AB a b

  19. Ars nova: Italian Secular Genres • Music of the trecento (abb. of milletrecento, 1300): • Ballata (ballare = to dance): A bba A (Fr. virelai), imitative • Caccia (cacciare = to catch, hunt): canonic+ritornello • Madrigal (?matricale = in the mother tongue; i.e., Italian, not Latin): AAB, ornated upper voice.

  20. Trecento: Ballata (A bba A) a b

  21. Trecento: Caccia 1 2 • Caccia (cacciare = to catch, hunt): canonic + ritornello R

  22. a Trecento: Madrigal • Madrigal (?matricale = in the mother tongue; i.e., Italian, not Latin): AAB, ornated upper voice. b

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