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The beginning of the Ars nova is one of the few clean chronological divisions in medieval music, since it corresponds to the publication of the Roman de Fauvel, a huge compilation of poetry and music, in 1310 and 1314. The Roman de Fauvel is a satire on abuses in the medieval church, and is filled with medieval motets, lais, rondeaux and other new secular forms. While most of the music is anonymous, it contains several pieces by Philippe de Vitry, one of the first composers of the isorhythmic motet, a development which distinguishes the fourteenth century. The isorhythmic motet was perfected by Guillaume de Machaut, the finest composer of the time. During the Ars nova era, secular music acquired a polyphonic sophistication formerly found only in sacred music, a development not surprising considering the secular character of the early Renaissance (while this music is typically considered "medieval", the social forces that produced it were responsible for the beginning of the literary and artistic Renaissance in Italy—the distinction between Middle Ages and Renaissance is a blurry one, especially considering arts as different as music and painting). The term "Ars nova" (new art, or new technique) was coined by Philippe de Vitry in his treatise of that name (probably written in 1322), in order to distinguish the practice from the music of the immediately preceding age. The dominant secular genre of the Ars Nova was the chanson, as it would continue to be in France for another two centuries. These chansons were composed in musical forms corresponding to the poetry they set, which were in the so-called formes fixes of rondeau, ballade, and virelai. These forms significantly affected the development of musical structure in ways that are felt even today; for example, the ouvert-clos rhyme-scheme shared by all three demanded a musical realization which contributed directly to the modern notion of antecedent and consequent phrases. It was in this period, too, in which began the long tradition of setting the mass ordinary. This tradition started around mid-century with isolated or paired settings of Kyries, Glorias, etc., but Machaut composed what is thought to be the first complete mass conceived as one composition. The sound world of Ars Nova music is very much one of linear primacy and rhythmic complexity. "Resting" intervals are the fifth and octave, with thirds and sixths considered dissonances. Leaps of more than a sixth in individual voices are not uncommon, leading to speculation of instrumental participation at least in secular performance. Surviving French manuscripts include the Ivrea Codex and the Apt Codex. For information about specific French composers writing in late medieval era, see Jehan de Lescurel, Philippe de Vitry, Guillaume de Machaut, Borlet, Solage, and François Andrieu. Italy: Trecento Main article: Music of the Trecento Most of the music of Ars nova was French in origin; however, the term is often loosely applied to all of the music of the fourteenth century, especially to include the secular music in Italy. There this period was often referred to as Trecento. Italian music has always, it seems, been known for its lyrical or melodic character, and this goes back to the 14th century in many respects. Italian secular music of this time (what little surviving liturgical music there is, is similar to the French except for somewhat different notation) featured what has been called the cantalina style, with a florid top voice supported by two (or even one; a fair amount of Italian Trecento music is for only two voices) that are more regular and slower moving. This type of texture remained a feature of Italian music in the popular 15th and 16th century secular genres as well, and was an important influence on the eventual development of the trio texture that revolutionized music in the 17th. There were three main forms for secular works in the Trecento. One was the madrigal, not the same as that of 150–250 years later, but with a verse/refrain-like form. Three-line stanzas, each with different words, alternated with a two-line ritornello, with the same text at each appearance. Perhaps we can see the seeds of the subsequent late-Renaissance and Baroque ritornello in this device; it too returns again and again, recognizable each time, in contrast with its surrounding disparate sections. Another form, the caccia ("chase,") was written for two voices in a canon at the unison. Sometimes, this form also featured a ritornello, which was occasionally also in a canonic style. Usually, the name of this genre provided a double meaning, since the texts of caccia were primarily about hunts and related outdoor activities, or at least action-filled scenes. The third main form was the ballata, which was roughly equivalent to the French virelai. Surviving Italian manuscripts include the Squarcialupi Codex and the Rossi Codex. For information about specific Italian composers writing in the late medieval era, see Francesco Landini, Gherardello da Firenze, Andrea da Firenze, Lorenzo da Firenze, Giovanni da Firenze (aka Giovanni da Cascia), Bartolino da Padova, Jacopo da Bologna, Donato da Cascia, Lorenzo Masini, Niccolò da Perugia, and Maestro Piero. Germany: Geisslerlieder Main article: Geisslerlieder The Geisslerlieder were the songs of wandering bands of flagellants, who sought to appease the wrath of an angry God by penitential music accompanied by mortification of their bodies. There were two separate periods of activity of Geisslerlied: one around the middle of the thirteenth century, from which, unfortunately, no music survives (although numerous lyrics do); and another from 1349, for which both words and music survive intact due to the attention of a single priest who wrote about the movement and recorded its music. This second period corresponds to the spread of the Black Death in Europe, and documents one of the most terrible events in European history. Both periods of Geisslerlied activity were mainly in Germany. There was also French-influenced polyphony written in German areas at this time, but it was somewhat less sophisticated than its models. In fairness to the mostly anonymous composers of this repertoire, however, most of the surviving manuscripts seem to have been copied with extreme incompetence, and are filled with errors that make a truly thorough evaluation of the music's quality impossible. Mannerism and Ars subtilior Main article: Ars subtilior The chanson Belle, bonne, sage by Baude Cordier, an Ars subtilior piece included in the Chantilly Codex As often seen at the end of any musical era, the end of the medieval era is marked by a highly manneristic style known as Ars subtilior. In some ways, this was an attempt to meld the French and Italian styles. This music was highly stylized, with a rhythmic complexity that was not matched until the 20th century. In fact, not only was the rhythmic complexity of this repertoire largely unmatched for five and a half centuries, with extreme syncopations, mensural trickery, and even examples of augenmusik (such as a chanson by Baude Cordier written out in manuscript in the shape of a heart), but also its melodic material was quite complex as well, particularly in its interaction with the rhythmic structures. Already discussed under Ars Nova has been the practice of isorhythm, which continued to develop through late-century and in fact did not achieve its highest degree of sophistication until early in the 15th century. Instead of using isorhythmic techniques in one or two voices, or trading them among voices, some works came to feature a pervading isorhythmic texture which rivals the integral serialism of the 20th century in its systematic ordering of rhythmic and tonal elements. The term "mannerism" was applied by later scholars, as it often is, in response to an impression of sophistication being practised for its own sake, a malady which some authors have felt infected the Ars subtilior. One of the most important extant sources of Ars Subtilior chansons is the Chantilly Codex. For information about specific composers writing music in Ars subtilior style, see Anthonello de Caserta, Philippus de Caserta (aka Philipoctus de Caserta), Johannes Ciconia, Matteo da Perugia, Lorenzo da Firenze, Grimace, Jacob Senleches, and Baude Cordier. Transitioning to the Renaissance Demarcating the end of the medieval era and the beginning of the Renaissance, with regard to the composition of music, is difficult. While the music of the fourteenth century is fairly obviously medieval in conception, the music of the early fifteenth century is often conceived as belonging to a transitional period, not only retaining some of the ideals of the end of the Middle Ages (such as a type of polyphonic writing in which the parts differ widely from each other in character, as each has its specific textural function), but also showing some of the characteristic traits of the Renaissance (such as the international style developing through the diffusion of Franco-Flemish musicians throughout Europe, and in terms of texture an increasing equality of parts). Music historians do not agree on when the Renaissance era began, but most historians agree that England was still a medieval society in the early fifteenth century (see periodization issues of the Middle Ages). While there is no consensus, 1400 is a useful marker, because it was around that time that the Renaissance came into full swing in Italy. The increasing reliance on the interval of the third as a consonance is one of the most pronounced features of transition into the Renaissance. Polyphony, in use since the 12th century, became increasingly elaborate with highly independent voices throughout the 14th century. With John Dunstaple and other English composers, partly through the local technique of faburden (an improvisatory process in which a chant melody and a written part predominantly in parallel sixths above it are ornamented by one sung in perfect fourths below the latter, and which later took hold on the continent as "fauxbordon"), the interval of the third emerges as an important musical development; because of this Contenance Angloise ("English countenance"), English composers' music is often regarded as the first to sound less truly bizarre to modern, unschooled audiences. English stylistic tendencies in this regard had come to fruition and began to influence continental composers as early as the 1420s, as can be seen in works of the young Dufay, among others. While the Hundred Years' War continued, English nobles, armies, their chapels and retinues, and therefore some of their composers, travelled in France and performed their music there; it must also of course be remembered that the English controlled portions of northern France at this time. English manuscripts include the Worcester Fragments, the Old St. Andrews Music Book, the Old Hall Manuscript, and Egerton Manuscript. For information about specific composers who are considered transitional between the medieval and the Renaissance, see Zacara da Teramo, Paolo da Firenze, Giovanni Mazzuoli, Antonio da Cividale, Antonius Romanus, Bartolomeo da Bologna, Roy Henry, Arnold de Lantins, Leonel Power, and John Dunstaple. Study and vocational training The Schola Cantorum Basiliensis, university for old music in Basel, Switzerland, provides the only full-time practical study course for the music of the Middle Ages. A two-year vocational training for musicians is offered at the academy Burg Fürsteneck in Germany. Distinguished expert Kees Boeke coordinates a new Master of Music- Musik des Mittelalters und des Renaissance for both singers and instrumentalists in the Staatliche Hochschule für Musik Trossingen, also in Germany. Influence in contemporary music Léonin and Pérotin have influenced minimalist[47] composers such as Steve Reich[48][49] and La Monte Young.[citation needed] |
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