Gullaume De Machaut And The Ars Nova Musical Style

Music has been around for countless generations. In the lifetime of his magical art we call music we have seen many different musicians. One musician who had a great influence and effect on the Romantic Era would have to be Antonin Dvorak. Antonin Dvorak’s talent for music was visible from an early age. He was so gifted his childhood teacher was unable to continue teaching him even while he was still very young.

When looking at music from the fourteenth century, it is vital to look deeply into the music of France. Many of the most important composers, genres, principles, etc. from this time are established, popularized and built upon. By the fourteenth century, Ars Nova is well established as a treatise and as a style of music, and many different genres of music are categorized as Ars Nova music. The motet is built upon even more, and secular polyphony is very popular. One of the most popular and frequently used types of secular polyphony was the formes fixes, French poetic forms translated into musical forms. There are three different types of formes fixes: the rondeau, the ballade, and the virelai, with each type being different to one another. Many composers of the fourteenth century used formes fixes, with Philippe de Vitry being the first to use them, and the most significant composer to use them was Guillaume de Machaut. I will be looking into what makes each type of formes fixes different from one another, as well as seeing how composers such as Machaut created them and used them in his repertory and how each type has evolved through the fourteenth and

1801, He became slowly going to be deaf how ever he carries doing the music and wrote many paces music composers

Pérotin is hailed as a sort of Mozart of his time. He was a scholarly musician and musical innovator . Pérotin is called by many different names: Perotinus – his Latin Name and Perotinus Magnus – Pérotin the Great ; and even “optimus discantor”, or great composer of discant. According to Hussman, Pérotin was a court composer for Notre Dame, but his connection to Notre Dame is not entirely confirmed. It is because of an account by the English traveler Anonymous IV and letters to a Bishop that it is accepted that Pérotin was associated with Notre Dame. Whether he wrote specifically for Notre Dame or not, Pérotin wrote magnificent music that has been preserved for several centuries to this day .

Guillaume de Machaut (~1300-1377) was born in Northern France. He was a leading composer of the French Ars Nova movement, and also expanded upon the concept of motets. He also made the first solo polyphonic cycle of the Mass Ordinary (Evans 2013) Machaut is primarily known for his work of Messe de Nostre Dame, the first polyphonic setting of the Mass Ordinary as a coherent cycle.

In the year 1160 the composer Perotin was born in Paris France. It is believed that he worked with Leonins on most of his pieces at Notre Dame. He was also sometimes called “Perotinus”.

Latin Percussion is a brand founded on sheer love for the instruments they make. Started by Martin Cohen in 1964, Latin Percussion is a company born out of necessity. After Martin Cohen was unable to find any of the hand percussion instruments that he loved (partly attributed to the recent Cuban Missile Crisis and the Cuban Embargo that followed it), he decided to learn how to make the instruments that he cherished. Martin Cohen was quick to put his instruments into the hands of legends such as Tito Puente and out of that, the Latin Percussion legend was established. Since Latin Percussion started it has remained the uncontested leader in reliable, great sounding hand percussion and extra percussion that can be used either on its own or alongside

Rarely in the documented history of music can we found a collection of compositions more perfectly tied to an instrument, than that of the Baroque school of French organ composition. Looking at the earliest examples of music from this period (which stem from even earlier vocal polyphony), one will find forms and techniques indubitably connected to the organ. By the start of the sixteenth century, the establishment of colloquial categories of organ composition, and independent vocal forms, were finally acknowledged. For the following two centuries the technical progression of the organ in conjunction with musical development, resulted in every stop on Baroque French organs being given a standardised function. This function was almost always outlined at the beginning of a score by the composer.

Philippe de Vitry and Guillaume de Machaut in the following century were also the leading composers of medieval

Organum[1] (/ˈɔːrɡənəm/) is, when all is said in done, a plainchant song with no less than one added voice to improve the concordance, created in the Middle Ages. Contingent upon the mode and type of the serenade, a supporting bass line (or bourdon) might be sung on the same content, the tune might be followed in parallel movement (parallel organum), or a blend of both of these systems might be utilized. As no genuine free second voice exists, this is a type of

Have you ever heard of music, with no instruments? Now you have! A cappella is the style of music that makes all sounds, instrumental or vocal, with only their mouths. A cappella not a genre, but a style of music. A cappella has taken over the lives of many people. Karmin did a song named A Cappella. Pentatonix was on the Sing Off. Because cappella has an in depth history, it has many people making a fortune, like Pentatonix and Karmin and has many different ways to do it like genres, styles etc.

Poulenc would tell Éluard, “”Poor Paul, I’m going to slaughter you a little bit more…” “I’m glad of it,” he’d say politely, “but do it quickly, I’m so impatient to hear you…”” (Dobson 101). Breton, Éluard, and Aragon “all detested music” (Dobson 101). But “at the end of his life Éluard became more accessible to it” (Dobson 101). He would find difficulties though when putting Paul’s writings to music, as the titles were “very visual, [they] work when the poems appear alongside engravings, [or] illustrations by Picasso, but [they were] not suitable for music” (Dobson 101). This obsession with his work would continue from many years, from 1916 until Éluard’s death in

One of the greatest composers of music, even though it was only slightly notated at the time, was Guillaume de Machaut (d. 1377), “one of the undisputed pinnacle geniuses of Western music…” His most famous piece was the four-voice Mass of Notre Dame, which maintained his reputation through the changes in fashion (Roberge). After almost a millennium’s worth of music was composed and contributed, the style of music began to change with the next era.

Josquin’s career was defined by the invention of the printer which allowed his masses and other compositions to be printed and shared more easily among the country. In many of his pieces, he illustrates his gift of the pervasive imitation technique: a polyphonic piece with the repetition of a melody at different pitch levels than the original. Many scholars contribute his textural influences on the beginning of word-painting technique (music that reflects the emotion or meaning of the song). He wrote all different types of music throughout his lifetime such as: masses, motets, instrumental pieces, chansons, and even motet-chanson (a new form during the time). He had many techniques for his masses such as paraphrase and canonic masses. Many of his motets, he wrote for five or six voices instead of the standard four voices and often used imitation. The most famous of his pieces are Ave Maria… Virgo serena and Missa Pange lingua. Overall, Josquin des Prez was one of the most well-known and influential composer during the Renaissance period and many scholars credit him to be the first to master polyphonic music. He contributed tons to the Franco-Flemish school and helped lead the way for greater harmonic development. He is truly a well-rounded composer who helped push the Renaissance musical period to the next level and created many beautiful, well-known sacred and secular

The use of vibrato in music stemming from the Late Renaissance music is highly debated. Christopher Jackson’s article entitled “An Examination of Vibrato” discusses the issues revolving around the use of vibrato in music from the Late Renaissance time period. The author’s goals isn’t to arrive at a side of the matter. However, he clearly states that he wishes to “shed some new light on the views of these two opposing schools…” I believe this article is meant for both musicologists and choral directors alike. The music of this time period is still being performed to this day and each performance varies due to different interpretations of a particular piece. This article can serve as a great tool for advising choral directors on specific decisions they must make within a piece regarding the use of vibrato. The article can also be directed to musicologist who have had debates about this vocal technique. Without any clear resolution, it leaves the question open-ended, however, it does give insight on the two sides which helps inform musicologists who favor a particular idea about the other argument.