Ars Nova (music history)

The Latin term Ars Nova, which translates to "the new art," refers to a period of European musical development that took place predominantly in fourteenth-century France. During that time, ongoing political strife throughout Europe and severe disunion within the hierarchy of the Catholic Church disrupted the stability of European society and set the stage for great sociopolitical, religious, and artistic change. Where music was concerned, this atmosphere of change yielded the Ars Nova movement, which was primarily marked by the development of a new form of notation that allowed composers to create works with greater rhythmic subtlety and complexity than ever before. This innovative breakthrough contributed significantly to the evolution of religious and secular music alike, in part by facilitating the implementation of syncopation and introducing the concept of time signatures. Though it was received with disdain by some church authorities, the Ars Nova movement had a transformative impact on music that is still felt today.

Historical Background

The emergence of the Ars Nova movement was tied directly to the growing instability of European society in the fourteenth century. Over the course of the two preceding centuries, much of Europe found itself abiding in peace thanks to the strong central authority of the Catholic Church and the success of the feudal system, which fueled economic development and provided significant social stability. Musical advancements were made at a rapid pace thanks to ample economic support made possible by the growth of trade, continued interest in musical innovation generated by the church, and the establishment of universities where composers and other experts could meet to dissect and discuss new works and techniques. By the turn of the fourteenth century, however, a number of key events shattered the relatively harmonious status quo and marked the beginning of a radical shift in musical evolution.

The social and political upheaval of the fourteenth century began with difficulties within the Catholic Church that resulted in the papacy being moved from Rome to the French town of Avignon in 1305. This so-called "Babylonian Captivity" eventually led to the Great Schism, during which rival popes battled for control of the Catholic Church. Ultimately, this hierarchal discord undermined the church's authority and led many to question its ability to serve as the unifying foundation of society. Further, the outbreak of a bitter military conflict between England and France that would eventually come to be called the Hundred Years' War and the devastating effects of the bubonic plague that swept across the continent between 1348 and 1350 left much of Europe broken and distressed. In the end, all of this culminated in the decline of the feudal aristocracy and the rise of a newly emergent social class called the bourgeois, which marked the dawning of a new era for both civilized European society and its music.

Ars Nova Characteristics and Impact

Prior to the fourteenth century, the most dominant musical forms were monophony and polyphony. Monophony, best exemplified by a type of single unaccompanied vocal melody called plainchant, refers to music with only one "part." Polyphony, on the other hand, refers to music with more than one part and, as a result, simultaneous notes. In the fourteenth century, French composers began using rhythmic patterns of at least twelve or more notes that performers repeated continuously in different voices. On top of that, these composers then layered other melodies over these voice parts to create polyphonic designs of a considerably more sophisticated design. This radical new approach caught on quickly and was soon dubbed "Ars Nova," a term that was originally the title of a treatise on the movement written by French composer and theorist Philippe de Vitry.

In short order, the revolutionary Ars Nova movement inspired further musical advancements. Most notable among these was the development of the motet, a brief unaccompanied choral work specifically designed for two voices. In motets, the tenor, or ornate upper voice, sings a text that is different from the underlying chant melody. This unique design allows the motet to sound like a song accompanied by a tenor when performed. Along with the motet, the Ars Nova movement also played a key role in the introduction of polyphony into the Catholic mass, with Guillaume de Machaut's Le Messe de Nostre Dame, written in the 1360s, being the first piece to arrange all of the mass's movements in four-part scoring.

Despite the Ars Nova movement's success, there were some who were opposed to the changes it was inspiring. Not surprisingly, the church was among the chief opponents of the movement. In large part, the church's objections were based on Ars Nova's secularizing effect on sacred music. Many motets written in the fourteenth century offered commentary on current events, including the clergy's frequently dubious activities. Naturally, church leaders disapproved of this trend and called for the new forms of music being developed to be banned from religious services. Ultimately, however, church opposition did little to hinder the Ars Nova movement's influence.

Notable Ars Nova Composers

Although few musical works created during the fourteenth century have survived, a number of key Ars Nova composers and works are still known today. The two most widely recognized and accomplished of these composers are Vitry and Machaut. In addition to giving the Ars Nova movement its name, Vitry wrote numerous motets, some of which appear in the Roman de Fauvel, a French allegorical verse romance. Machaut, for his part, was one of the most prolific Ars Nova composers. In addition to Le Messe de Nostre Dame, his most famous work, Machaut also wrote compositions such as The Cure of Ill Fortune, Judgement of the King of Navarre, and A True Story. Other Ars Nova composers include Pierre des Molins, best known for De ce que foul pense, and Grimace, who is most remembered for A l'arme, a l'arme.

Bibliography

"IID: The Ars Nova in France." Here of a Sunday Morning. Web. 15 Feb. 2016. http://www.hoasm.org/IID/IIDArsNovaFrance.html

McComb, Todd M. "Medieval & Renaissance Music: A Brief History." Medieval Music & Arts Foundation. Todd M. McComb. 16 Aug. 2004. Web. 15 Feb. 2016. http://www.medieval.org/emfaq/beginlst/nocds.html

Miller, Michael. The Complete Idiot's Guide to Music History. New York: Penguin Group, 2008. Print.

"Philippe de Vitry." Music Academy Online. Music Academy Online, Inc. Web. 15 Feb. 2016. http://www.musicacademyonline.com/composer/biographies.php?bid=149