Ars subtilior

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Ars subtilior describes a stylistic epoch in music . The period of the Ars subtilior ranges from 1377 (death of Guillaume de Machaut ) to 1420 (appearance of Guillaume Dufay ). The term itself was coined in 1963 by the musicologist Ursula Günther : "This probably entitles us to speak of an ars subtilior instead of an ars nova . In contrast to the word mannerism, this term is unencumbered in every respect."

General

Ars subtilior as a term does not originate from the end of the 14th century , but has become generally accepted in order to replace the term “mannerism” Willi Apels for the same time. The latter term does not designate the various innovations (of a more subtle kind) that arose during this period and had a significant impact on the following period:

  • The rhythmic area (extreme points Jacob (de) Senleches and Rodericus ) was expanded with new note values.
  • The sound material included distant notes that the Ars Nova was not yet familiar with: ( Solage , a student of Guillaume de Machaut , goes up to the note Des).
  • With some composers of that time, a new kind of reference to the keynote can be observed, for example with Senleches: Our modern “major” suggests itself and affects composers like Du Fay or Ciconia.

On the other hand, the connections to the previous Ars Nova cannot be overlooked:

Musical characteristics

  • The rhythm is often dissolved by frequent changes of the length .
  • Gern is polyrhythmics used (that is, for example, a simultaneity of two- and three-division of the note values). A special example is le ray au soleyl by Johannes Ciconia , a canon in polymetric proportions 1: 3: 4.
  • The intelligibility of the text is completely subordinate to the music.
  • Notation : The minima and the semiminima dominate the score.
  • The use of duoles , triplets , quintuplets ( Rodericus ) and syncopations leads to a mannerist notation with fusa and chroma , also dragma, as the smallest note values, often with double necks, flags, hollow heads, various colors. The note flag for fast values, which is still valid today, appears for the first time.

Composers

Most of the composers were in the service of a court orchestra , especially the French in Paris under King Charles V (1364–1380) and King Charles VI. (1380–1422), but also the courts in Aragon and Castile as well as in Cyprus ( only anonymous works have survived from the court of Janus ) engaged the artists of the Ars subtilior , as did the papal court in Avignon . Some composers such as Magister Zacharias and Mateo da Perugia worked in Italy.

Traditional composer names are:

Johannes Ciconia (early works), Mateo da Perugia , Jacob (de) Senleches , Antonello da Caserta , Solage , Rodericus , Trebor , Jehan Vaillant , Jean Galiot , Grimace , Baude Cordier , Johannes Carmen , Jean Tapissier , Magister Zacharias .

Original sources

literature

  • Ursula Günther: The end of the Ars Nova. In: The music research. Kassel 16.1963, pp. 105-120. ISSN  0027-4801
  • Ursula Günther: On the biography of some composers of the Ars Subtilior. In: Archives for Musicology . Stuttgart 21.1964, pp. 172-199, ISSN  0003-9292
  • Q. Joseph Smith: Ars Nova - a Re-Definition? In: Musica disciplina. Middleton 18.1964, pp. 19-35; 19.1965, pp. 83-97. ISSN  0077-2461
  • Nino Pirrotta: Musica tra Medioevo e Rinascimento . Torino: Giulio Einaudi, 1984. 279 pp. ISBN 978-88-0605741-1
  • Nino Pirrotta: Ars Nova e stil novo. In: Rivista italiana di Musicologia (RIM). 1.1966, pp. 3-19.
  • Nino Pirrotta, Ettore Li Gotti. Il Codice di Lucca: I. Descrizione e Inventario . American Institute of Musicology Verlag Corpusmusicae, GmbH. 1949
  • The Lucca Codex: Codice Mancini, Lucca, Archivio di Stato, MS 184, Perugia, Biblioteca comunale "Augusta", MS 3065: introductory study and facsimile edition . A cura di John Nádas e Agostino Ziino, Lucca: Editrice Libreria musicale italiana (LIM), collana Ars Nova, 1990, ISBN 978-88-7096009-9
  • Virginia Ervin Newes: Imitation in the ars nova and ars subtilior. In: Revue belge de musicologie (RBM). Brussels 31.1977, pp. 38–59. ISSN  0771-6788
  • F. Joseph Smith: Jacques de Liège's criticism of the notational innovations of the Ars nova. In: The Journal of Musicological Research. New York 4.1983, pp. 267-313. ISSN  0141-1896
  • Willi Apel : The notation of polyphonic music 900–1600. Breitkopf & Härtel, Wiesbaden 1989, pp. 452-489, 2006. ISBN 3-7651-0180-X
  • Daniel Leech-Wilkinson: Ars Antiqua - Ars Nova - Ars Subtilior. In: Antiquity and the Middle Ages . Edited by J. McKinnon. London 1990, pp. 218-240. ISBN 0-333-51040-2
  • Laurie Köhler: Pythagorean-Platonic proportions in works by ars nova and ars subtilior. Göttingen musicological work. Vol. 12. Bärenreiter, Kassel 1990. ISBN 3-7618-1014-8
  • Ursula Günther: The Ars subtilior. In: Hamburger Jahrbuch für Musikwissenschaft. Frankfurt 11.1991, pp. 277-288. ISSN  0342-8303
  • Yolanda M. Plumley: Style and structure in the late 14th-century chanson. Diss. University of Exeter 1991.
  • Yolanda M. Plumley: The grammar of fourteenth century melody. Tonal organization and compositional process in the chansons of Guillaume de Machaut and the ars subtilior. Outstanding dissertations in music from British universities. Garland, New York 1996. ISBN 0-8153-2065-5
  • Anne Stone: Che cosa c'è di più sottile riguardo l'ars subtilior? In: La Revue internationale de musique (RIM). 31.1996, pp. 3-31.
  • Dorit Esther Tanay: Noting music, making culture - The intellectual context of rhythmic notation, 1250-1400. Musicological studies and documents. Vol. 46. Hänssler, Holzgerlingen 1999. ISBN 3-7751-3195-7
  • Yolanda M. Plumley: Citation and allusion in the late ars nova. The case of Esperance and the En attendant songs. In: Early music history (EMH). 18.1999, pp. 287-363. ISSN  0261-1279
  • Frank Hentschel: The ars nova dispute - just kidding? In: Archives for Musicology. (AfMW). Stuttgart 58.2001, pp. 110-130. ISSN  0003-9292
  • Anna Maria Busse Berger: The evolution of rhythmic notation. In: The Cambridge history of Western music theory. Cambridge University Press, Cambridge 2002, pp. 628-656. ISBN 0-521-62371-5
  • Michael Beiche: Ars antiqua, ars nova, ars subtilior . In: Concise dictionary of musical terminology . Vol. 1, ed. by Hans Heinrich Eggebrecht and Albrecht Riethmüller , editor-in-chief Markus Bandur, Steiner, Stuttgart 1972 ( online ).

Individual evidence

  1. ↑ Ursula Günther: "The end of the Ars Nova" . In: The music research . tape 16 , no. 2 , 1963, p. 112 , JSTOR : 41115502 .