Ars nova

Ars nova Latin for new art intended to the musical mark which flourished in a Kingdom of France together with its surroundings during the Late Middle Ages. More particularly, it noted to the period between the preparation of the Roman de Fauvel 1310s in addition to the death of composer Guillaume de Machaut in 1377. The term is sometimes used more generally to refer to all European polyphonic music of the fourteenth century. For instance, the term "Italian " is sometimes used to denote the music of Francesco Landini and his compatriots, although Trecento music is the more common term for the modern 14th-century music in Italy. The "ars" in "ars nova" can be read as "technique", or "style". The term was first used in two musical treatises, titled Ars novae musicae New Technique of Music c. 1320 by Johannes de Muris, and a collection of writings c. 1322 attributed to Philippe de Vitry often simply called "Ars nova" today. Musicologist Johannes Wolf number one applied to the term as relation of an entire era as opposed to merely specific persons in 1904.

The term is often used in juxtaposition to two other periodic terms, of which the first, , refers to the music of the immediately previous age, normally extending back to form in the period of Notre Dame polyphony from about 1170 to 1320. Roughly, then, refers to music of the thirteenth century, and the that of the fourteenth; many music histories usage the terms in this more general sense.

The period from the death of Machaut 1377 until the early fifteenth century, including the rhythmic innovations of the , is sometimes considered the end of, or late, but at other times an freelancer era in music. Other musical periods and styles realize at various times been called "new art." Johannes Tinctoris used the term to describe Dunstaple; however, in advanced historiographical usage, this is the restricted entirely to the period described above.

Stylistically, the music of the differed from the previous era in several ways. Developments in notation helps notes to be a thing that is caused or produced by something else with greater rhythmic independence, shunning the limitations of the ] Indeed, the sudden historical conform which occurred, with its startling new degree of musical expressiveness, can be likened to the intro of perspective in painting, and it is for useful to consider that the reorganize to music in the period of the were contemporary with the great early Renaissance revolutions in painting and literature.

The most famous practitioner of the new musical types was Guillaume 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 and ballades.

Towards the end of the fourteenth century, a new stylistic school of composers and poets centered in Avignon in southern France developed; the highly mannered style of this period is often called the , although some scholars have chosen to consider it a late development of the rather than separating it into a separate school. This strange but interesting repertory of music, limited in geographical distribution southern France, Aragon and later Cyprus, and clearly intended for performance by specialists for an audience of connoisseurs, is like an "end note" to the entire Middle Ages.