Ars nova (Latin for 'new art')[2] refers to a musical style which flourished in theKingdom of France and its surroundings during theLate Middle Ages. More particularly, it refers to the period between the preparation of theRoman de Fauvel (1310s) and the death of composerGuillaume de Machaut in 1377. The term is sometimes used more generally to refer to all Europeanpolyphonic music of the fourteenth century. For instance, the term "Italianars nova" is sometimes used to denote the music ofFrancesco Landini and his compatriots, althoughTrecento music is the more common term for the contemporary 14th-century music in Italy. The "ars" in "ars nova" can be read as "technique", or "style".[3] The term was first used in two musical treatises, titledArs novae musicae (New Technique of Music) (c. 1320) byJohannes de Muris, and a collection of writings (c. 1322) attributed toPhilippe de Vitry often simply called "Ars nova" today.[4] MusicologistJohannes Wolf first applied to the term as description of an entire era (as opposed to merely specific persons) in 1904.[2]
The termars nova is often used in juxtaposition to two other periodic terms, of which the first,ars antiqua, refers to the music of the immediately preceding age, usually extending back to take in the period ofNotre Damepolyphony (from about 1170 to 1320). Roughly, then,ars antiqua refers to music of the thirteenth century, and thears nova that of the fourteenth; many music histories use the terms in this more general sense.[2]
The period from the death of Machaut (1377) until the early fifteenth century, including the rhythmic innovations of thears subtilior, is sometimes considered the end of, or late,ars nova but at other times an independent era in music.[2] Other musical periods and styles have at various times been called "new art."Johannes Tinctoris used the term to describeDunstaple;[5] however, in modernhistoriographical usage, it is restricted entirely to the period described above.[2]
Stylistically, the music of thears nova differed from the preceding era in several ways. Developments in notation allowed notes to be written with greater rhythmic independence, shunning the limitations of therhythmic 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 asisorhythm and the isorhythmicmotet, 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.[6][failed verification] Indeed, the sudden historical change which occurred, with its startling new degree of musical expressiveness, can be likened to the introduction ofperspective in painting, and it is useful to consider that the changes to music in the period of thears nova were contemporary with the great earlyRenaissance revolutions in painting and literature.[7]
The most famous practitioner of the new musical style wasGuillaume de Machaut, who also had a distinguished career as a canon at Reims Cathedral and as a poet. The ars-nova style is evident in his considerable body of motets,lais,virelais,rondeaux andballades.[8]
Towards the end of the fourteenth century, a new stylistic school of composers and poets centered inAvignon in southern France developed; the highly mannered style of this period is often called thears subtilior, although some scholars have chosen to consider it a late development of thears nova rather than separating it into a separate school. This strange but interesting repertory of music, limited in geographical distribution (southern France,Aragon and laterCyprus), and clearly intended for performance by specialists for an audience of connoisseurs, is like an "end note" to the entire Middle Ages.[9]
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.
^abcdeFallows, David. (2001). "Ars nova".The New Grove Dictionary of Music and Musicians, second edition, edited byStanley Sadie andJohn Tyrrell. London: Macmillan.
^Fuller, Sarah. "A Phantom Treatise of the Fourteenth Century? TheArs Nova",Journal of Musicology 4 (1985–6), pp. 23–50.
^Schrade, Leo. "The Chronology of the Ars Nova in France", inLes Colloques de Wégimont II—1955, L'Ars nova: Recueil d'études sur la musique du XIVe siècle (Paris: Les Belles Lettres, 1959), 37–62.
Earp, Lawrence (1995). "Ars nova". InMedieval 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.ISBN978-0-8240-4444-2.
Schrade, Leo (1956). "Philippe de Vitry: Some New Discoveries".The Musical Quarterly 42, no. 3 (July): 330–54.
[author missing] (1980). "Ars nova".The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. 20 vols. London: Macmillan Publishers Ltd.ISBN1-56159-174-2.
Fuller, Sarah (1985–86). "A Phantom Treatise of the Fourteenth Century? TheArs 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.ISBN0-89917-034-X.
Leech-Wilkinson, Daniel (1990). "Ars Antiqua—Ars Nova—Ars Subtilior". InAntiquity and the Middle Ages: From Ancient Greece to the 15th Century, edited by James McKinnon, 218–40. Man and Music. London: Macmillan Publishers.ISBN0-333-51040-2 (cased);ISBN0-333-53004-7 (pbk).
