‘The spirit moves me to speak of forms changed into new bodies’: Anton Webern, Philippe de Vitry, and the Reception of the Ars Nova Motet

Author(s):  
Lawrence Earp
Keyword(s):  
1673 ◽  
Vol 8 (92) ◽  
pp. 5197-5206
Keyword(s):  
Ars Nova ◽  

An accompt of two books. I. Tracts, written by R. Boyle Esquire, containing new experiments touching the relation betwixt flame and air, and about explosions: An hydrostatical discourse, occasioned by some objections of Dr. Henry More, &c; To which is annex’t an hysrostatical letter, about a way of weighing water in water; of the air's spring on bodies under water; and about the differing pressure of heavy solids and fluids. In which accompt is occasionally inserted the publisher's reply to Mr. George Sinclair's paper, called a vindication of the preface of his Ars Nova & Magna Gravitatis & Levitatis. II. Experienze intorno à diverse cose naturali, fatte da Francesco Redi. In the first of the Tracts, which contains the <italic>New Experiments</italic> about the <italic>Relation betwixt Flame</italic> and <italic>Air</italic>, the Noble Author, after he had mentioned some of the chief difficulties, both in <italic>making</italic> and <italic>judging</italic> of these Experiments, and occurred also to some thoughts, that might arise in the Reader, about his not ascribing in these Narratives so absolute and equal a necessity of the <italic>Air</italic> to the production and conservation of all <italic>Flames</italic>, as divers Men have concluded from his former Experiments; after this, <italic>Isay</italic>, he divides this Discourse into three parts.


2021 ◽  
Vol 50 (2) ◽  
pp. 205-214
Author(s):  
Hannes Schütz
Keyword(s):  
Ars Nova ◽  

Kennzeichnend für die Ars subtilior im späten 14. Jahrhundert sind die im Vergleich zur Ars nova größere Bandbreite an verschiedenen Notenwerten, die Gleichzeitigkeit verschiedener Mensuren in den einzelnen Stimmen und die damit in engem Zusammenhang stehende manierierte Notation. In der rhythmischen Konstruktion der Étude pour piano Nr. 2 - <Cordes Vides> von György Ligeti entsteht durch die vielfältige Kombination einfacher Konfliktrhythhmen ein hohes Maß an Komplexität, wobei die Möglichkeiten einer Rezeption der Techniken der Ars subtilior sichtbar werden. Die Notierung verschiedener Mensuren in den beiden Händen im traditionellen Notationssystem erlaubt es, die Gleichzeitigkeit verschiedener Geschwindig-keitsschichten für einen einzelnen Interpreten spielbar zu machen.


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