Articulating Ars Subtilior song

Early Music ◽  
2003 ◽  
Vol 31 (1) ◽  
pp. 6-19 ◽  
Author(s):  
D Leech-Wilkinson
Keyword(s):  
Ars Subtilior

Ars subtilior

2018 ◽  
pp. 1125-1146
Author(s):  
Anne Stone
Keyword(s):  
Ars Subtilior

Vier Beispiele der Ars subtilior

1970 ◽  
Vol 27 (1) ◽  
pp. 41
Author(s):  
Nors S. Josephson
Keyword(s):  
Ars Subtilior

Wiedergeburt der Ars subtilior?

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

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.

Old, New, and Newer Still in Book 7 of the Speculum musice

2020 ◽  
Vol 73 (1) ◽  
pp. 95-148 ◽  
Author(s):  
Anna Zayaruznaya
Keyword(s):  
Long Span ◽  
Ars Nova ◽  
Ars Subtilior

In chapter 27 of the last book of his Speculum musice, Jacobus faults an unnamed theorist for misattributing some ars nova doctrine to the ars antiqua; he then excuses the offense by explaining that the oldest ars nova theory might already seem old to current practitioners. This passage and several others suggest that Jacobus was writing at a time when the ars nova was hardly new. And yet the earliest ars nova theory dates from 1319, while the completion of the Speculum musice is often placed in the mid-1320s or ca. 1330. Since the Speculum cites a range of ars nova treatises that in turn cite a repertoire of motets, Jacobus's comments serve as a terminus ante quem for the ars nova writ large. This study reconsiders the date of completion for the last, seventh book of the Speculum musice. It is clear that Jacobus was older than the moderni and finished his treatise as an old man, but he also reveals that he wrote over a long span of time and revised his work repeatedly. His notational proclivities are those of a musician who came of age in a post-Franconian idiom prevalent until ca. 1320, but the latest notational developments he mentions include semiminims, dragmas, and even note shapes otherwise associated with the so-called ars subtilior. In light of this, I suggest that the Speculum musice could have been finished as late as the 1350s by an author in his mid- to late seventies. This redating, in turn, invites broad reconsideration of the transition between ars antiqua and ars nova.

scholarly journals The Ars Subtilior soundclips: a statement

Early Music ◽  
2003 ◽  
Vol XXXI (1) ◽  
pp. 4-5 ◽  
Author(s):  
Orlando Consort
Keyword(s):  
Ars Subtilior

Ars Subtilior repertory as performance palimpsest

Early Music ◽  
2003 ◽  
Vol XXXI (2) ◽  
pp. 196-209
Author(s):  
Donald Greig
Keyword(s):  
Ars Subtilior

scholarly journals ANÁLISE DE FUMEUX FUME PAR FUMÉE DE SOLAGE: UMA BREVE APROXIMAÇÃO ENTRE ARS SUBTILIOR E MADRIGAL

2019 ◽  
pp. 105-114
Author(s):  
Victor Martins Pinto de Queiroz ◽  
Mauricio Funcia De Bonis
Keyword(s):  
Ars Subtilior

scholarly journals La influencia del Papado de Aviñón sobre la música medieval española : la aparición del estilo ars subtilior

2012 ◽  
Vol 17 ◽  
pp. 115-128
Author(s):  
Enikő Pajor
Keyword(s):  
Middle Ages ◽  
Historical Context ◽  
Theoretical Data ◽  
Gregorian Chant ◽  
Training Course ◽  
Medieval Music ◽  
Ars Subtilior ◽  
The Middle Ages

I am not a musicologist but for more than twenty years I have been regularly cultivating Gregorian chant. In the same way, personally I feel very close to medieval music. Preparing a training course for librarians specialised in music, Ifound a style called "Ars Subtilior" which is generally little known even among musiáans, as it only lasted a few decades in the Middle Ages in France, Spain and Italy. I consider it important to provide some historical and theoretical data needed to understand the importance of this revolutionary new style in its historical context.

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