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History of European art music
Early
Medieval (500 – 1400)
Renaissance (1400 – 1600)
Common practice
Baroque (1600 – 1760)
Classical (1730 – 1820)
Romantic (1815 – 1910)
Modern and contemporary
20th century classical (1900 – 2000)
Contemporary classical (1975 – present)

The term medieval music encompasses European music written during the Middle Ages. Classical music is a broad term that usually refers to mainstream music produced in or rooted in the traditions of Western liturgical and Secular music Early music is commonly defined as European classical music from the Middle Ages, the Renaissance and the Baroque. Renaissance music is European music written during the Renaissance, approximately 1400 - 1600 The common practice period, in the history of European Art music (broadly called Classical music) spanning the Baroque, Classical, and Baroque music describes an era and a set of styles of European classical music which were in widespread use between approximately 1600 and 1750. The dates of the Classical period in Western music are generally accepted as 1750 to 1810 Romantic Music is a Musicological term referring to a particular period theory compositional practice and canon in European music history from about 1815 to 1910 At the turn of the 20th century classical music was characteristically late Romantic in style while at the same time the Impressionist movement spearheaded by Claude Debussy Contemporary classical music can be understood as belonging to a period that started in the mid-1970s with the retreat of modernism. This era begins with the fall of the Roman Empire and ends in approximately the middle of the fifteenth century. The Decline of the Roman Empire, leading to the Fall of the Roman Empire, or the Fall of Rome, was the end of the Western Roman Empire. Establishing the end of the medieval era and the beginning of the Renaissance is admittedly arbitrary; 1400 is used here. Music historians divide the European classical music into various eras based on what style was most popular as taste changed The Renaissance (from French Renaissance, meaning "rebirth" Italian: Rinascimento, from re- "again" and nascere

Contents

Overview

Styles and trends

The only medieval music which can be studied is that which was written down, and survived. Since creating musical manuscripts was very expensive, due to the expense of parchment, and the huge amount of time necessary for a scribe to copy it all down, only wealthy institutions were able to create manuscripts which have survived to the present time. A manuscript is any Document that is Written by hand as opposed to being printed or reproduced in some other way These institutions generally included the church and church institutions, such as monasteries; some secular music, as well as sacred music, was also preserved by these institutions. This article concerns the buildings occupied by monastics. For the life inside monasteries and its historical roots see Monasticism. These surviving manuscripts do not reflect much of the popular music of the time. At the start of the era, the notated music is presumed to be monophonic and homorhythmic with what appears to be a unison sung text and no notated instrumental support. In Music, monophony is the simplest of textures, consisting of Melody without accompanying Harmony. In Music, homorhythm is a texture where there is a "sameness of rhythm in all parts" or "very similar Rhythm " as would be used in simple Earlier medieval notation had no way to specify rhythm, although neumatic notations gave clear phrasing ideas, and somewhat later notations indicated rhythmic modes. Neumes are the basic elements of Western and Eastern systems of Musical notation prior to the invention of five-line staff notation In Medieval music, the rhythmic modes were patterns of long and short Durations (or Rhythms imposed on written notes which otherwise appeared

The simplicity of chant, with unison voice and natural declamation, is most common. Chant (from Old French chanter) is the Rhythmic speaking or Singing of Words or Sounds often primarily on one or two The notation of polyphony develops, and the assumption is that formalized polyphonic practices first arose in this period. In Music, polyphony is a texture consisting of two or more independent Melodic voices, as opposed to music with just one voice ( Monophony Harmony, in consonant intervals of perfect fifths, unisons, octaves, (and later, perfect fourths) begins to be notated. Rhythmic notation allows for complex interactions between multiple vocal lines in a repeatable fashion. The use of multiple texts and the notation of instrumental accompaniment developed by the end of the era.

Instruments

A musician plays the vielle in a 14th century Medieval manuscript
A musician plays the vielle in a 14th century Medieval manuscript

Instruments used to perform medieval music still exist, though in different forms. The vielle is a European bowed Stringed instrument used in the Medieval period similar to a modern Violin but with a somewhat longer and deeper body A manuscript is any Document that is Written by hand as opposed to being printed or reproduced in some other way The flute was once made of wood rather than silver or other metal, and could be made as a side-blown or end-blown instrument. The flute is a Musical instrument of the Woodwind family Unlike other woodwind instruments a flute is a Reedless wind instrument that produces its Wood is hard fibrous lignified structural tissue produced as secondary Xylem in the stems of Woody plants notably trees but also shrubs Silver (ˈsɪlvɚ is a Chemical element with the symbol " Ag " (argentum from the Ancient Greek: ἀργήντος - argēntos gen The recorder, on the other hand, has more or less retained its past form. The recorder is a woodwind Musical instrument of the family known as Fipple Flutes ' or internal duct flutes &mdash whistle-like The gemshorn is similar to the recorder in having finger holes on its front, though it is really a member of the ocarina family. The Gemshorn receives its name from the German language, and means literally a Chamois horn The ocarina ( is an ancient Flute -like Wind instrument. While several variations exist an ocarina is typified by an oval-shaped enclosed space with four to twelve One of the flute's predecessors, the pan flute, was popular in medieval times, and is possibly of Hellenic origin. The pan flute or pan pipe (also known as panflute or panpipes) is an ancient Musical instrument based on the principle of the Closed The term ancient Greece refers to the period of Greek history lasting from the Greek Dark Ages ca This instrument's pipes were made of wood, and were graduated in length to produce different pitches.

Medieval music uses many plucked string instruments, such as lute, mandora, gittern and psaltery. A string instrument (or stringed instrument) is a Musical instrument that produces Sound by means of Vibrating strings In the Hornbostel-Sachs Lute can refer generally to any plucked string instrument with a neck (either Fretted or unfretted and a deep round back or more specifically to an instrument from The mandora or mandore, also known as the gallizona or gallichon, is a type of 6 or 8-course bass Lute (possibly a descendant of Guiterne The gittern was a relatively small quill-plucked gut strung instrument originating around the 14th century A psaltery is a stringed Musical instrument of the Harp or the Zither family The dulcimers, similar in structure to the psaltery and zither, were originally plucked, but became struck in the 14th century, after the arrival of the new technology that made metal strings possible. The hammered dulcimer is a stringed Musical instrument with the strings stretched over a Trapezoidal sounding board A psaltery is a stringed Musical instrument of the Harp or the Zither family The zither is a musical String instrument, most commonly found in Slovenia, Austria, Hungary, the southern regions of Germany, alpine The hurdy-gurdy was (and still is) a mechanical violin using a rosined wooden wheel attached to a crank to "bow" its strings. A hurdy gurdy (also known as a wheel fiddle) is a stringed Musical instrument in which the strings are sounded by means of a Rosined wheel which the strings Instruments without sound boxes such as the Jew's harp were also popular in the time. The Jew's harp, juice harp, jaw harp, mouth harp, Ozark harp, or marranzano pancake is thought to be one of the oldest Musical Early versions of the organ, fiddle (or vielle), and trombone (called the sackbut) existed as well. The organ (from Greek όργανον – organon "organ instrument tool" is a Keyboard instrument of one or more divisions each The violin is a bowed String instrument with four strings usually tuned in Perfect fifths It is the smallest and highest-pitched member The vielle is a European bowed Stringed instrument used in the Medieval period similar to a modern Violin but with a somewhat longer and deeper body The trombone is a Musical instrument in the brass family Like all brass instruments it is a lip-reed Aerophone: sound is produced when the player’s The Sackbut (var Sacbutt Sackbutt Sagbutt a Brass instrument from the Renaissance and Baroque Eras is the ancestor of the modern Trombone

Genres

In this era, music was both sacred and secular, although almost no early secular music has survived, and since notation was a relatively late development, reconstruction of this music, especially before the 12th century, is currently a matter of conjecture (see authentic performance). Religious music (also sacred music) is Music performed or composed for religious use or through religious influence Secular music is non- Sacred music that developed in the Middle Ages. See also Modern musical symbols Music notation or musical notation is any system which represents aurally perceived Music through the use The historically informed performance, period performance, or authentic performance movement is an approach by musicians and scholars to research and perform works

Theory and notation

In music theory, this period saw several advances over previous practice, mostly in the conception and notation of rhythm. Music theory is the field of study that deals with the Mechanics of music and how Music works Previously, music was organized rhythmically into "longs" and "breves" (in other words, "shorts"), though often without any clear regular differentiation between which should be used. A longa is a Musical note twice as long as a breve, four times as long as a Semibreve /whole note that appears in Early music. In Music, a double whole note (American or "German" terminology or breve (British or "classical" terminology is a Note lasting The most famous music theorist of the first half of the 13th century, Johannes de Garlandia, was the author of the De mensurabili musica (about 1240), the treatise which defined and most completely elucidated the rhythmic modes, a notational system for rhythm in which one of six possible patterns was denoted by a particular succession of note-shapes (organized in what is called "ligatures"). There were at least two medieval scholars named Johannes de Garlandia (or John of Garlande, Jean de Garlande) Johannes de Garlandia (philologist In Medieval music, the rhythmic modes were patterns of long and short Durations (or Rhythms imposed on written notes which otherwise appeared In Medieval music notation, a ligature is a graphic symbol that represents two or more notes that are written and sung in a single gesture and on a single syllable The melodic line, once it had its mode, would generally remain in it, although rhythmic adjustments could be indicated by changes in the expected pattern of ligatures, even to the extent of changing to another rhythmic mode. A German theorist of a slightly later period, Franco of Cologne, was the first to describe a system of notation in which differently shaped notes have entirely different rhythmic values (in the Ars Cantus Mensurabilis of approximately 1260), an innovation which had a massive impact on the subsequent history of European music. Germany, officially the Federal Republic of Germany ( ˈbʊndəsʁepuˌbliːk ˈdɔʏtʃlant is a Country in Central Europe. Franco of Cologne (fl mid-13th century was a German music theorist and possibly composer Most of the surviving notated music of the 13th century uses the rhythmic modes as defined by Garlandia.

Philippe de Vitry is most famous in music history for writing the Ars Nova (1322), a treatise on music which gave its name to the music of the entire era. Philippe de Vitry ( October 31, 1291 &ndash June 9, 1361) was a French Composer, music theorist and Poet Ars nova was a stylistic period in Music of the Late Middle Ages, centered in France, which encompassed the period roughly from the preparation His contributions to notation, in particular notation of rhythm, were particularly important, and made possible the free and quite complex music of the next hundred years. In some ways the modern system of rhythmic notation began with Vitry, who broke free from the older idea of the rhythmic modes, short rhythmic patterns that were repeated without being individually differentiated. The notational predecessors of modern time meters also originate in the Ars Nova; for Franco, a breve (for a brief explanation of the mensural notation in general, see the article Renaissance music) had equalled three semibreves (that is, half breves) (on occasion, two, locally and with certain context; almost always, however, these two semibreves were one of normal length and one of double length, thereby taking the same space of time), and the same ternary division held for all larger and smaller note values. In Music, a double whole note (American or "German" terminology or breve (British or "classical" terminology is a Note lasting Renaissance music is European music written during the Renaissance, approximately 1400 - 1600 In Music, a whole note (American or "German" terminology or semibreve (British or "classical" terminology is a Note represented By the time of Ars Nova, the breve could be pre-divided, for an entire composition or section of one, into groups of two or three smaller semibreves by use of a "mensuration sign," equivalent to our modern "time signature. " This way, the "tempus" (denoting the division of the breve, which ultimately achieved the same primacy over rhythmic structure as our modern "measure") could be either "perfect," with ternary subdivision, or "imperfect," with binary subdivision. Tempus perfectus was indicated by a circle, while tempus imperfectus was denoted by a half-circle (our current "C" as a stand-in for the 4/4 time signature is actually a holdover from this practice, not an abbreviation for "common time", as popularly believed). In a similar fashion, the semibreve could in turn be divided into three "minima" or "minims" (prolatio perfectus or major prolation) or two (prolatio imperfectus or minor prolation) and, at the higher level, the longs into three or two breves (modus perfectus or perfect mode, or modus imperfectus or imperfect mode respectively). In Music, a half note (American or German terminology or minim (British or classical terminology is a Note played for half the duration of a Prolation is a term used in the theory of Medieval music to describe its rhythmic structure on a small scale A longa is a Musical note twice as long as a breve, four times as long as a Semibreve /whole note that appears in Early music. In Medieval music, the rhythmic modes were patterns of long and short Durations (or Rhythms imposed on written notes which otherwise appeared

For the duration of the medieval period, most music would be composed primarily in perfect tempus, with special effects created by sections of imperfect tempus; there is a great current controversy among musicologists as to whether such sections were performed with a breve of equal length or whether it changed, and if so, at what proportion. In the highly syncopated works of the Ars subtilior, different voices of the same composition would sometimes be written in different tempus signatures simultaneously. Ars subtilior (more subtle art is a Musical style characterized by rhythmic and notational complexity centered around Paris, Avignon

Many scholars, citing a lack of positive attributory evidence, now consider "Vitry's" treatise to be anonymous, but this does not diminish its importance for the history of rhythmic notation. The first definitely identifiable scholar to accept and explain the mensural system was Johannes de Muris (Jehan des Mars), who can be said to have done for it what Garlandia did for the rhythmic modes. Jean de Muris (1290-1351 was a French Philosopher and Mathematician, best known for his promotion of Ars nova over Ars antiqua. Jean de Muris (1290-1351 was a French Philosopher and Mathematician, best known for his promotion of Ars nova over Ars antiqua.

For specific medieval music theorists, see also: Isidore of Seville, Aurelian of Réôme, Odo of Cluny, Guido of Arezzo, Hermannus Contractus, Johannes Cotto (Johannes Afflighemensis), Johannes de Muris, Franco of Cologne, Johannes de Garlandia (Johannes Gallicus), Anonymous IV, Marchetto da Padova (Marchettus of Padua), Jacques of Liège, Johannes de Grocheo, Petrus de Cruce (Pierre de la Croix), and Philippe de Vitry. Saint Isidore of Seville ( Spanish: es ''San Isidro'' or es ''San Isidoro de Sevilla'' Latin: latin ''Isidorus Hispalensis'' (c Aurelian of Réôme ( Aurelianus Reomensis) (fl c 840 &ndash 850) was a Frankish writer and music theorist. Saint Odo of Cluny (c 878 – 18 November 942) a Saint of the Roman Catholic Church, was the second Abbot of Cluny. Guido of Arezzo or Guido Aretinus or Guido da Arezzo or Guido Monaco or Guido D'Arezzo (991/992&ndashafter 1033 was a music theorist Hermann of Reichenau (also called Hermannus Contractus or Hermannus Augiensis) ( 1013 July 18 &ndash 1054 September 24) Johannes Cotto ( John Cotton, Johannes Afflighemensis) (fl c 1100 was a music theorist, possibly of English origin most likely working in Jean de Muris (1290-1351 was a French Philosopher and Mathematician, best known for his promotion of Ars nova over Ars antiqua. Franco of Cologne (fl mid-13th century was a German music theorist and possibly composer There were at least two medieval scholars named Johannes de Garlandia (or John of Garlande, Jean de Garlande) Johannes de Garlandia (philologist Anonymous IV is the designation given to the writer of an important treatise of medieval Music theory. Marchetto da Padova ( Marchettus of Padua; b 1274? fl 1305 &ndash 1319 was an Italian music theorist and composer of the late medieval era Jacob of Liège, aka Jacobus Leodiensis or Jacques de Liège, is believed to have written the Speculum Musicae, The Mirror of Music during the second Johannes de Grocheio ( Grocheo) (c 1255 &ndash c 1320 was a Parisian musical theorist of the early fourteenth century Petrus de Cruce (Pierre de la Croix was active as a Cleric, Composer and theorist in the late part of the 13th century Philippe de Vitry ( October 31, 1291 &ndash June 9, 1361) was a French Composer, music theorist and Poet

Early medieval music (before 1150)

Early chant traditions

Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian church. History Gregorian chant was organized codified and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries with later additions In Music, texture is the overall quality of sound of a piece, most often indicated by the number of voices in the music and by the relationship between The Jewish Synagogue tradition of singing psalms was a strong influence on Christian chanting. PLEASE TAKE NOTE************ Psalms ( Hebrew: Tehilim, תהילים, or "praises" is a book of the Hebrew Bible (the Christian Old Testament) included

Chant developed separately in several European centres. The most important were Rome, Spain, Gaul, Milan, and Ireland. Rome ( Roma ˈroma Roma is the capital city of Italy and Lazio, and is Italy's largest and most populous city with more than 2 Spain () or the Kingdom of Spain (Reino de España is a country located mostly in southwestern Europe on the Iberian Peninsula. Gaul (Gallia was the Roman name for the region of Western Europe comprising present day northern Italy, France, Belgium, western Milan (Milano Milan (listen) is one of the largest cities in Italy, located in the plains of Lombardy. Ireland (pronounced /ˈaɾlənd/ Éire) is the third largest island in Europe, and the twentieth-largest island in the world These chants were all developed to support the regional liturgies used when celebrating the Mass there. Each area developed its own chants and rules for celebration. In Spain, Mozarabic chant was used and shows the influence of North African music. Mozarabic chant (also known as Hispanic chant, Old Hispanic chant, Old Spanish chant, or Visigothic chant) is the liturgical plainchant Algeria See also Music of Algeria Out of all the North African countries Algerian popular music may be best-known abroad The Mozarabic liturgy even survived through Muslim rule, though this was an isolated strand and this music was later suppressed in an attempt to enforce conformity on the entire liturgy. A Muslim (مسلم pronounced Muslim, not Muzlim) is an adherent of the Religion In Milan, Ambrosian chant, named after St. Ambrose, was the standard, while Beneventan chant developed around Benevento, another Italian liturgical center. Ambrosian chant (also known as Milanese chant) is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church related Saint Ambrose (c 338 &ndash 4 April 397) was a bishop of Milan who became one of the most influential ecclesiastical figures of the fourth century Beneventan chant is a liturgical plainchant repertory of the Roman Catholic Church used primarily in the orbit of the southern Italian ecclesiastical centers Benevento is a town and Comune of Campania, Italy, capital of the Province of Benevento, 50 km northeast of Naples. Gallican chant was used in Gaul, and Celtic chant in Ireland and Great Britain. Gallican chant refers to the liturgical plainchant repertory of the Gallican rite of the Roman Catholic Church in Gaul, prior to the introduction Celtic chant is the liturgical plainchant repertory of the Celtic rite of the Roman Catholic Church performed in the British Isles and Brittany

Around 1011 AD, the Roman Catholic Church wanted to standardize the Mass and chant. The Mass is the Eucharistic celebration in the Latin liturgical rites of the Roman Catholic Church. At this time, Rome was the religious centre of western Europe, and Paris was the political centre. The standardization effort consisted mainly of combining these two (Roman and Gallican) regional liturgies. The liturgical rite of the Church of Rome is called the Roman Rite. The Gallican Rite is a historical sub-grouping of the Roman Catholic Liturgy in Western Europe; it is not a single rite but actually a family of Rites This body of chant became known as Gregorian Chant. By the 12th and 13th centuries, Gregorian chant had superseded all the other Western chant traditions, with the exception of the Ambrosian chant in Milan, and the Mozarabic chant in a few specially designated Spanish chapels.

Gregorian chant

See also: Gregorian chant

Early polyphony: organum

Around the end of the ninth century, singers in monasteries such as St. Gall in Switzerland began experimenting with adding another part to the chant, generally a voice in parallel motion, singing in mostly perfect fourths or fifths with the original tune (see interval). History Gregorian chant was organized codified and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries with later additions The Abbey of St Gall (Sankt Gallen was for many centuries one of the chief Benedictine Abbeys in Europe Switzerland (English pronunciation; Schweiz Swiss German: Schwyz or Schwiiz Suisse Svizzera Svizra officially the Swiss Confederation In Music theory, contrary motion is the general movement of two melodic lines in opposite directions The perfect fourth () is a Musical interval which spans four scale degrees The perfect fifth ( is the Musical interval between a note and the note seven Semitones above it on the musical scale In Music theory, the term interval describes the relationship between the pitches of two Notes Intervals may be described as vertical This development is called organum, and represents the beginnings of harmony and, ultimately, counterpoint. Organum (ˈɔrgənəm though the stress is now sometimes incorrectly put on the second syllable from Ancient Greek ὄργανον - organon "organ instrument In Western music, harmony is the use of different pitches simultaneously and chords actual or implied in Music. In Music, counterpoint is the relationship between two or more voices that are independent in contour and Rhythm, and interdependent in Harmony Over the next several centuries organum developed in several ways.

The most significant was the creation of "florid organum" around 1100, sometimes known as the school of St. Martial (named after a monastery in south-central France, which contains the best-preserved manuscript of this repertory). In "florid organum" the original tune would be sung in long notes while an accompanying voice would sing many notes to each one of the original, often in a highly elaborate fashion, all the while emphasizing the perfect consonances (fourths, fifths and octaves) as in the earlier organa. Later developments of organum occurred in England, where the interval of the third was particularly favoured, and where organa were likely improvised against an existing chant melody, and at Notre Dame in Paris, which was to be the centre of musical creative activity throughout the thirteenth century.

Much of the music from the early medieval period is anonymous. Some of the names may have been poets and lyric writers, and the tunes for which they wrote words may have been composed by others. Attribution of monophonic music of the medieval period is not always reliable. Surviving manuscripts from this period include the Musica Enchiriadis, Codex Calixtinus of Santiago de Compostela, and the Winchester Troper. Musica enchiriadis is an anonymous musical Treatise from the 9th century. The Codex Calixtinus is a 12th century Illuminated manuscript formerly attributed to Pope Callixtus II, though now believed to have been arranged by the Santiago de Compostela (also Saint James of Compostela is the capital of the autonomous community of Galicia and a UNESCO World The Winchester Troper includes perhaps the oldest large collections of two-part music in Europe, along with the Chartres Manuscript which is approximately contemporaneous

For information about specific composers or poets writing during the early medieval period, see Pope Gregory I, St. Godric, Hildegard of Bingen, Hucbald, Notker Balbulus, Odo of Arezzo, Odo of Cluny, and Tutilo. Saint Godric of Finchale or Saint Goderic (c 1065&ndash May 21, 1170) was an English Hermit and popular Medieval Hildegard of Bingen (Hildegard von Bingen Hildegardis Bingensis 1098 – 17 September 1179) also known as Blessed Hildegard and Saint Hildegard Hucbald ( Hucbaldus, Hubaldus) (c 840 or 850– June 20, 930) was a Music music theorist, composer teacher writer Hagiographer Notker the Stammerer ( Notker Balbulus) also called Notker the Poet or Notker of Saint Gall ( c Several medieval music theorists named Odo have been confused historically Saint Odo of Cluny (c 878 – 18 November 942) a Saint of the Roman Catholic Church, was the second Abbot of Cluny. Saint Tuotilo (Tutilo Tutilo von Gallen Tutilo of Gall Tutilo of Saint Gall (ca

Liturgical drama

Main article: Liturgical drama

Another musical tradition of Europe originating during the early Middle Ages was the liturgical drama. Liturgical drama or religious drama, in its various Christian contexts originates from the mass itself and usually presents a relatively complex ritual that includes Liturgical drama or religious drama, in its various Christian contexts originates from the mass itself and usually presents a relatively complex ritual that includes In its original form, it may represent a survival of Roman drama with Christian stories - mainly the Gospel, the Passion, and the lives of the saints - grafted on. Ancient Rome was a Civilization that grew out of a small agricultural community founded on the Italian Peninsula as early as the 10th century BC This article is about the canonical books of the New Testament This article describes the Christian Passion For other meanings see Passion. Hagiography ( is the study of Saints. A hagiography, from Greek (hağios (ἅγιος "holy" or "saint" and graphē (γραφή Every part of Europe had some sort of tradition of musical or semi-musical drama in the Middle Ages, involving acting, speaking, singing and instrumental accompaniment in some combination. Probably these dramas were performed by travelling actors and musicians. Many have been preserved sufficiently to allow modern reconstruction and performance (for example the Play of Daniel, which has been recently recorded). The Play of Daniel, or Ludus Danielis, refers to either of two medieval Latin Liturgical dramas one of which is accompanied by monophonic

Goliards

The Goliards were itinerant poet-musicians of Europe from the tenth to the middle of the thirteenth century. The Goliards were a group of Clergy who wrote bibulous satirical Latin Poetry in the twelfth and thirteenth centuries. Most were scholars or ecclesiastics, and they wrote and sang in Latin. Ecclesiology (from Greek grc ἐκκλησίᾱ ekklēsiā, "congregation church" and grc -λογία -logia) is the study of the Although many of the poems have survived, very little of the music has. They were possibly influential — even decisively so — on the troubadour-trouvère tradition which was to follow. A troubadour ( IPA:, originally) was a composer and performer of Occitan Lyric poetry during the High Middle Ages (1100&ndash1350 Trouvère ( MWCD: /trü'ver trü'vər/ sometimes spelled trouveur, is the Northern French ( Langue d'oïl) form of the word Troubadour Most of their poetry is secular and, while some of the songs celebrate religious ideals, others are frankly profane, dealing with drunkenness, debauchery and lechery.

High medieval music (1150-1300)

Ars antiqua

The flowering of the Notre Dame school of polyphony from around 1150 to 1250 corresponded to the equally impressive achievements in Gothic architecture: indeed the centre of activity was at the cathedral of Notre Dame itself. See also Gothic art Gothic architecture is a style of Architecture which flourished during the high and late medieval period. NotreDameFlyingButtressjpg|right|thumb|250px|Notre Dame de Paris Flying Buttress]] Notre Dame de Paris is a Gothic Cathedral on the eastern half of the Sometimes the music of this period is called the Parisian school, or Parisian organum, and represents the beginning of what is conventionally known as Ars antiqua. Ars antiqua, also called ars veterum or ars vetus, refers to the music of Europe of the late Middle Ages between approximately This was the period in which rhythmic notation first appeared in western music, mainly a context-based method of rhythmic notation known as the rhythmic modes. Rhythm (from Greek ῥυθμός - rhythmos, "any measured flow or movement symmetry" is the variation of the length and accentuation of In Medieval music, the rhythmic modes were patterns of long and short Durations (or Rhythms imposed on written notes which otherwise appeared

This was also the period in which concepts of formal structure developed which were attentive to proportion, texture, and architectural effect. The term musical form refers to two related concepts the type of composition (for example a musical work can have the form of a Symphony, a In Music, texture is the overall quality of sound of a piece, most often indicated by the number of voices in the music and by the relationship between Composers of the period alternated florid and discant organum (more note-against-note, as opposed to the succession of many-note melismas against long-held notes found in the florid type), and created several new musical forms: clausulae, which were melismatic sections of organa extracted and fitted with new words and further musical elaboration; conductus, which was a song for one or more voices to be sung rhythmically, most likely in a procession of some sort; and tropes, which were rearrangements of older chants with new words and sometimes new music. A clausula (plural clausulae) is a Polyphonic composition performed as a musical alternative to the original Plainchant passage that it is intended to replace Melisma, in music is singing a single syllable of text while moving between several different notes in succession In Medieval music, conductus (plural conductus) is a type of sacred but non-liturgical vocal composition for one or more voices In Music a trope is In Medieval music From the Greek τρόπος ( tropos) "turn" related to the root of All of these genres save one were based upon chant; that is, one of the voices, (usually three, though sometimes four) nearly always the lowest (the tenor at this point) sung a chant melody, though with freely composed note-lengths, over which the other voices sang organum. The exception to this method was the conductus, a two-voice composition that was freely composed in its entirety.

The motet, one of the most important musical forms of the high Middle Ages and Renaissance, developed initially during the Notre Dame period out of the clausula, especially the form using multiple voices as elaborated by Pérotin, who paved the way for this particularly by replacing many of his predecessor (as canon of the cathedral) Léonin's lengthy florid clausulae with substitutes in a discant style. In Western music, motet is a word that is applied to a number of highly varied choral musical compositions Pérotin ( fl c 1200 also called Perotin the Great, was a European Composer, believed to be French, who lived Léonin (also Leoninus, Leonius, Leo) ( fl 1150s — d ? 1201) is the first known significant Gradually, there came to be entire books of these substitutes, available to be fitted in and out of the various chants. Since, in fact, there were more than can possibly have been used in context, it is probable that the clausulae came to be performed independently, either in other parts of the mass, or in private devotions. The clausulae, thus practised, became the motet when troped with non-liturgical words, and was further developed into a form of great elaboration, sophistication and subtlety in the fourteenth century, the period of Ars nova.

Surviving manuscripts from this era include the Codex Montpellier, Codex Bamberg, and El Codex musical de Las Huelgas. For information on the 11th-century codex Montpellier H195 see Antiphonary of St The Bamberg Codex ( Bamberg Staatsbibliothek Lit115) is a Manuscript containing two treatises on Music theory and a large body of 13th century The Codex Las Huelgas ( E-BUlh) is a music Manuscript or Codex from c

Composers of this time include Léonin, Pérotin, W. de Wycombe, Adam de St. Victor, and Petrus de Cruce (Pierre de la Croix). Léonin (also Leoninus, Leonius, Leo) ( fl 1150s — d ? 1201) is the first known significant Pérotin ( fl c 1200 also called Perotin the Great, was a European Composer, believed to be French, who lived W de Wycombe (Wicumbe and perhaps Whichbury (late 13th century) was an English composer and copyist of the Medieval era Petrus de Cruce (Pierre de la Croix was active as a Cleric, Composer and theorist in the late part of the 13th century Petrus is credited with the innovation of writing more than three semibreves to fit the length of a breve. Coming before the innovation of imperfect tempus, this practice innagurated the era of what are now called "Petronian" motets. These late 13th-century works are in three, sometimes four, parts and have multiple texts sung simultaneously. These texts can be either sacred or secular in subject, and with Latin and French mixed. The Petronian motet is a highly complex genre, given its mixture of several semibreve breves with rhythmic modes and sometimes (with increasing frequency) substitution of secular songs for chant in the tenor. Indeed, ever-increasing rhythmic complexity would be a fundamental characteristic of the 14th century, though music in France, Italy, and England would take quite different paths during that time.

Troubadours and trouvères

The music of the troubadours and trouvères was a vernacular tradition of monophonic secular song, probably accompanied by instruments, sung by professional, occasionally itinerant, musicians who were as skilled as poets as they were singers and instrumentalists. A troubadour ( IPA:, originally) was a composer and performer of Occitan Lyric poetry during the High Middle Ages (1100&ndash1350 Trouvère ( MWCD: /trü'ver trü'vər/ sometimes spelled trouveur, is the Northern French ( Langue d'oïl) form of the word Troubadour The language of the troubadours was Occitan (also known as the langue d'oc, or Provençal); the language of the trouvères was Old French (also known as langue d'oil). Occitan ( IPA BrE: /ˈɒksɪtn/ AmE: /ˈɑksəˌtɑn/ known also as Lenga d'òc or Langue d'oc (native name occitan Occitan ( IPA BrE: /ˈɒksɪtn/ AmE: /ˈɑksəˌtɑn/ known also as Lenga d'òc or Langue d'oc (native name occitan Provençal ( Provençau) is one of several dialects of Occitan spoken by a minority of people mostly in Provence (in southern France Langues d'oïl is the linguistic and historical designation of the Gallo-Romance languages originating from the northern territories of Roman Gaul, The period of the troubadours corresponded to the flowering of cultural life in Provence which lasted through the twelfth century and into the first decade of the thirteenth. Provence ( Provençal Occitan: Provença in classical norm or Prouvènço in Mistralian norm is a region of southeastern France Typical subjects of troubadour song were war, chivalry and courtly love. War is an international relations Dispute, characterized by organized Violence between National Military units Chivalric order Chivalry is a term related to the Medieval institution of Knighthood. Courtly love was a Medieval European conception of ennobling love which found its genesis in the ducal and princely courts of Aquitaine, Provence The period of the troubadours wound down after the Albigensian Crusade, the fierce campaign by Pope Innocent III to eliminate the Cathar heresy (and northern barons' desire to appropriate the wealth of the south). The Albigensian Crusade or Cathar Crusade (1209&ndash1229 was a 20-year military campaign initiated by the Roman Catholic Church to eliminate the Cathar Pope Innocent III ( February 22, 1161 &ndash June 16, 1216) born Lotario de' Conti di Segni, was Pope from January Surviving troubadours went either to Spain, northern Italy or northern France (where the trouvère tradition lived on), where their skills and techniques contributed to the later developments of secular musical culture in those places.

The music of the trouvères was similar to that of the troubadours, but was able to survive into the thirteenth century unaffected by the Albigensian Crusade. Most of the more than two thousand surviving trouvère songs include music, and show a sophistication as great as that of the poetry it accompanies.

The Minnesinger tradition was the Germanic counterpart to the activity of the troubadours and trouvères to the west. Minnesang was the tradition of lyric and Song writing in Germany which flourished in the 12th century and continued into the 14th century Germany, officially the Federal Republic of Germany ( ˈbʊndəsʁepuˌbliːk ˈdɔʏtʃlant is a Country in Central Europe. Unfortunately, few sources survive from the time; the sources of Minnesang are mostly from two or three centuries after the peak of the movement, leading to some controversy over their accuracy. Among the Minnesingers with surviving music are Wolfram von Eschenbach, Walther von der Vogelweide, and Niedhart von Reuenthal. Walther von der Vogelweide (c 1170 - c 1230 is the most celebrated of the Middle High German lyric Poets Life history For all his fame Walther's

Troubadours with surviving melodies
Composers of the high and late medieval era

Late medieval music (1300-1400)

France: Ars nova

The beginning of the Ars nova is one of the few clean chronological divisions in medieval music, since it corresponds to the publication of the Roman de Fauvel, a huge compilation of poetry and music, in 1310 and 1314. Aimeric de Belenoi (fl 1215&ndash1242 was a Gascon Troubadour. Aimeric or Aimery de Peguilhan, Peguillan, or Pégulhan (c 1170 &ndash c Albertet de Sestaro, Sestairo, Sestairon, Sestarron, Sisteron, or Terascon (fl Arnaut Daniel de Riberac (today Arnaut Danièl) was an Occitan Troubadour of the 12th century praised by Dante as " il miglior fabbro Arnaut de Mareuil ( fl late 12th century) was a Troubadour, composing Lyric poetry in the Occitan language. Beatritz or Beatriz de Dia (born c 12th century - flourished circa 1175 Provence) was a Trobairitz, that is a female Troubadour, a poet-musician "Berenguer de Palou" redirects here For the bishops of Barcelona see Berenguer de Palou I and Berenguer de Palou II. Bernart de Ventadorn (1130-1140 &ndash 1190-1200 also known as Bernard de Ventadour or Bernat del Ventadorn, was a prominent Troubador of the classical Bertran de Born (1140s &ndash by 1215 was a Baron from the Limousin in France, and one of the major Occitan Troubadours of the twelfth Blacasset, Blacassetz, Blacssetz, or Blachessetz (fl 1233&ndash1242 was a Provençal Troubadour of the noble family of the Cadenet (c 1160 &ndash c 1235 was a Provençal Troubadour ( trobador) who lived and wrote at the court of Raymond VI of Toulouse and eventually Daude, Deude, Daurde, or Daudé de Pradas (fl 1214&ndash1282 was a Troubadour from Prades-Salars in the Rouergue not Folquet de Marselha, alternatively Folquet de Marseille, Foulques de Toulouse, Fulk of Toulouse (c Gaucelm Faidit (c 1170 &ndash c 1202 was a Troubadour, born in Uzerche, in the Limousin, from a family of knights in service of the count of Gui d'Ussel, d'Ussèl, or d'Uisel (fl 1195&ndash1209 was a turn-of-the-thirteenth-century Troubadour of the Limousin. Guilhem Ademar (also spelled Guillem, Adamar, or Azemar; fl 1190/1195&ndash1217 was a Troubadour from the Gévaudan. Guillem Augier Novella was a Troubadour from Vienne in the Dauphinois who lived most of his adulthood in Lombardy and was active as Guillem or Guilhem Magret (fl 1195&ndash1210 was a Troubadour and Jongleur from the Viennois. Guilhem de Saint-Leidier or Guillem de Saint Deidier was a Troubadour of the 12th century composing in Occitan. Giraut de Bornelh (c 1138 &ndash 1215 whose first name is also spelled Guiraut and whose nickname Borneil ( l) or Borneyll, was a Troubadour Guiraut d'Espanha or de Tholoza (fl 1245&ndash1265 was of the last generation of Troubadours, working in Provence at the court of Charles of Anjou Guiraut Riquier (c1230 - 1292 is among the last of the Provençal Troubadours He is well known because of his great care in writing out his works and keeping them together Jaufre Rudel ( Jaufré in Modern Occitan) was the Prince of Blaye ( Princes de Blaia) and a Troubadour of the early&ndashmid 12th century Jordan Bonel de Confolens (also Confolent or Cofolen; fl late 12th century was a Troubadour from western Aquitaine about whom very little is Marcabru (fl 1130-1150 is one of the earliest Troubadours whose poems are known The ( Lo) Monge ( s) de Montaudo ( n) (sometimes Monje, meaning "monk of Montaudon" fl Peire d'Alvernhe or d'Alvernha ( Pèire in modern Occitan; b c Peire Cardenal or Cardinal (c 1180&ndashc 1278 was a Troubadour (fl Peire Raimon de Tolosa or Toloza (fl 1180&ndash1220 was a Troubadour from the merchant class of Toulouse. Peire Vidal (1175 &ndash 1205 was a Troubadour. According to his Biography, he was the son of a Furrier, and the greatest of singers Peirol or Peiròl (approximately "pay-rol" peʁɔl in French or in Occitan birth estimated around 1160/1225 death in the 1220s was an Auvergnat Perdigon or Perdigo (fl 1190&ndash1212 was a Troubadour from Lespéron in the Gabales, Diocese of Gévaudan, modern Lozère. Pistoleta (fl 1185&ndash1228 was a Provençal Troubadour. His name (actually a nickname means "little letter (epistle" in Occitan. Pons d'Ortaffa / Ortafas or Ponç d'Ortafà (c 1170 &ndash 1246 was a Catalan nobleman and Troubadour. Pons de Capduelh, Capduell, Capdveyll, Capdveill, Capduoill, Capdoill, Capdolh, or Chapteuil (f Raimbaut of Orange (c 1147 &ndash 1173 or in Occitan Raimbaut d'Aurenga, was the lord of Orange and Aumelas. Raimbaut de Vaqueiras or Riambaut de Vaqueyras (floruit 1180-1207 was a Provençal Troubadour and later in his life knight Raimon Jordan was a Toulousain Troubadour and the Viscount of Saint-Antonin in the Rouergue near the boundary with Quercy Raimon de Miraval(h (c 1135/1160 &ndash c 1220 was a Troubadour (fl Rigaut (also Richart or Richartz) de Berbezilh (also Berbezill or Barbesiu; Rigaud de Barbezieux Rigaudus de Berbezillo was a Uc Brunet, Brunec, or Brunenc (Hugh Ugo fl 1190&ndash1220 was a nobleman and Troubadour from Rodez in the Rouergue. Uc de Saint Circ ( San Sir) or Hugues (Hugh de Saint Circq (fl Ars nova was a stylistic period in Music of the Late Middle Ages, centered in France, which encompassed the period roughly from the preparation The Roman de Fauvel, translated as The Story of the Fawn-Colored Beast, is a 14th century French poem accredited to French royal clerk Gervais The Roman de Fauvel is a satire on abuses in the medieval church, and is filled with medieval motets, lais, rondeaux and other new secular forms. A lai was a song form composed in northern Europe, mainly France and Germany, from the 13th to the late 14th century. While most of the music is anonymous, it contains several pieces by Philippe de Vitry, one of the first composers of the isorhythmic motet, a development which distinguishes the fourteenth century. Philippe de Vitry ( October 31, 1291 &ndash June 9, 1361) was a French Composer, music theorist and Poet Isorhythm (from the Greek for "the same rhythm" is a musical technique that arranges a fixed pattern of pitches with a repeating Rhythmic pattern The isorhythmic motet was perfected by Guillaume de Machaut, the finest composer of the time. Guillaume de Machaut, sometimes spelled Machault (c 1300 – April 1377 was an important Medieval French Poet and Composer.

During the Ars nova era, secular music acquired a polyphonic sophistication formerly found only in sacred music, a development not surprising considering the secular character of the early Renaissance (and it should be noted that while this music is typically considered to be "medieval", the social forces that produced it were responsible for the beginning of the literary and artistic Renaissance in Italy—the distinction between Middle Ages and Renaissance is a blurry one, especially considering arts as different as music and painting). The term "Ars nova" (new art, or new technique) was coined by Philippe de Vitry in his treatise of that name (probably written in 1322), in order to distinguish the practice from the music of the immediately preceding age.

The dominant secular genre of the Ars Nova was the chanson, as it would continue to be in France for another two centuries. A chanson ( French for " Song " from Latin cantio) is in general any lyric -driven French songs usually Polyphonic These chansons were composed in musical forms corresponding to the poetry they set, which were in the so-called formes fixes of rondeau, ballade, and virelai. Formes fixes (English fixed forms) are French poetic forms of the fourteenth and fifteenth centuries which were translated into musical forms These forms significantly affected the development of musical structure in ways that are felt even today; for example, the ouvert-clos rhyme-scheme shared by all three demanded a musical realization which contributed directly to the modern notion of antecedent and consequent phrases. It was in this period, too, in which began the long tradition of setting the mass ordinary. This tradition started around mid-century with isolated or paired settings of Kyries, Glorias, etc. , but Machaut composed what is thought to be the first complete mass conceived as one composition. Guillaume de Machaut, sometimes spelled Machault (c 1300 – April 1377 was an important Medieval French Poet and Composer. The sound world of Ars Nova music is very much one of linear primacy and rhythmic complexity. "Resting" intervals are the fifth and octave, with thirds and sixths considered dissonances. Leaps of more than a sixth in individual voices are not uncommon, leading to speculation of instrumental participation at least in secular performance.

Surviving French manuscripts include the Ivrea Codex and the Apt Codex. The Ivrea Codex ( Ivrea Biblioteca Capitolare 115) is a Parchment Manuscript containing a significant body of 14th century French

For information about specific French composers writing in late medieval era, see Jehan de Lescurel, Philippe de Vitry, Guillaume de Machaut, Borlet, Solage, and François Andrieu. Jehan de Lescurel (also Jehannot de l'Escurel (died May 23, 1304) was a medieval Poet and Composer. Philippe de Vitry ( October 31, 1291 &ndash June 9, 1361) was a French Composer, music theorist and Poet Guillaume de Machaut, sometimes spelled Machault (c 1300 – April 1377 was an important Medieval French Poet and Composer. Borlet was a 14th and 15th century composer whose life we know extremely little about Solage (fl late 14th century d probably after 1403 was a French composer François Andrieu was a composer most likely French, of the late 14th century.

Italy: Trecento

Main article: Music of the Trecento

Most of the music of Ars nova was French in origin; however, the term is often loosely applied to all of the music of the fourteenth century, especially to include the secular music in Italy. The Trecento was a period of vigorous activity in Italy in the arts including painting architecture literature and music There this period was often referred to as Trecento. The Trecento (Italian for 300 or from "mille trecento" 1300 refers to the 14th century in Italian cultural history

Italian music has always, it seems, been known for its lyrical or melodic character, and this goes back to the 14th century in many respects. Italian secular music of this time (what little surviving liturgical music there is, is similar to the French except for somewhat different notation) featured what has been called the cantalina style, with a florid top voice supported by two (or even one; a fair amount of Italian Trecento music is for only two voices) that are more regular and slower moving. This type of texture remained a feature of Italian music in the popular 15th and 16th century secular genres as well, and was an important influence on the eventual development of the trio texture that revolutionized music in the 17th.

There were three main forms for secular works in the Trecento. One was the madrigal, not the same as that of 150-250 years later, but with a verse/refrain-like form. The Madrigal is an Italian musical form of the 14th century. The form flourished ca Three-line stanzas, each with different words, alternated with a two-line ritornello, with the same text at each appearance. In Baroque music, ritornello was the word for a recurring passage for Orchestra in the first or final movement of a Solo concerto or Aria Perhaps we can see the seeds of the subsequent late-Renaissance and Baroque ritornello in this device; it too returns again and again, recognizable each time, in contrast with its surrounding disparate sections. Another form, the caccia ("chase,") was written for two voices in a canon at the unison. Sometimes, this form also featured a ritornello, which was occasionally also in a canonic style. Usually, the name of this genre provided a double meaning, since the texts of caccia were primarily about hunts and related outdoor activities, or at least action-filled scenes. The third main form was the ballata, which was roughly equivalent to the French virelai.

Surviving Italian manuscripts include the Squarcialupi Codex and the Rossi Codex. The Squarcialupi Codex (Florence Biblioteca Medicea Laurenziana Med The Rossi Codex is a music manuscript collection of the 14th century.

For information about specific Italian composers writing in the late medieval era, see Francesco Landini, Gherardello da Firenze, Andrea da Firenze, Lorenzo da Firenze, Paolo da Firenze (Paolo Tenorista), Giovanni da Firenze (aka Giovanni da Cascia), Bartolino da Padova, Jacopo da Bologna, Donato da Cascia, Lorenzo Masini, Niccolò da Perugia, and Maestro Piero. Francesco Landini or Landino (around 1325 &ndash September 2, 1397) was an Italian Composer, organist, singer poet Gherardello da Firenze (also Niccolò di Francesco or Ghirardellus de Florentia‎) (c Andrea da Firenze can also refer to a Quattrocento painter see Andrea da Bonaiuto. Lorenzo da Firenze (Magister Laurentius de Florentia Masini (d Paolo da Firenze (Paolo Tenorista "Magister Dominus Paulas Abbas de Florentia" (c Bartolino da Padova (also "Magister Frater Bartolinus de Padua" (fl Jacopo da Bologna (fl 1340 &ndash 1360) was an Italian composer of the Trecento, the period sometimes known as the Italian ars nova Donato da Cascia (also da Firenze or da Florentia) (fl c 1350 &ndash 1370) was an Italian composer of the Trecento. Lorenzo da Firenze (Magister Laurentius de Florentia Masini (d Niccolò da Perugia (also Nicolò) (fl second half of the 14th century) was an Italian composer of the Trecento, the musical period also known Maestro Piero ( Magister Piero, Piero) (b before 1300 d shortly after 1350 was an Italian composer of the late medieval era

Germany: Geisslerlieder

Main article: Geisslerlieder

The Geisslerlieder were the songs of wandering bands of flagellants, who sought to appease the wrath of an angry God by penitential music accompanied by mortification of their bodies. In Medieval music, the Geisslerlieder, or Flagellant songs, were the Songs of the In Medieval music, the Geisslerlieder, or Flagellant songs, were the Songs of the Flagellants are practitioners of an extreme form of mortification of their own flesh by Whipping it with various instruments There were two separate periods of activity of Geisslerlied: one around the middle of the thirteenth century, from which, unfortunately, no music survives (although numerous lyrics do); and another from 1349, for which both words and music survive intact due to the attention of a single priest who wrote about the movement and recorded its music. This second period corresponds to the spread of the Black Death in Europe, and documents one of the most terrible events in European history. The Black Death, or the Black Plague, was one of the deadliest Pandemics in human history widely thought to have been caused by a bacterium named Yersinia Both periods of Geisslerlied activity were mainly in Germany.

There was also French-influenced polyphony written in German areas at this time, but it was somewhat less sophisticated than its models. In fairness to the mostly anonymous composers of this repertoire, however, most of the surviving manuscripts seem to have been copied with extreme incompetence, and are filled with errors that make a truly thorough evaluation of the music's quality impossible.

Mannerism and Ars subtilior

The chanson Belle, bonne, sage by Baude Cordier, an Ars subtilior piece included in the Chantilly Codex
The chanson Belle, bonne, sage by Baude Cordier, an Ars subtilior piece included in the Chantilly Codex

As often seen at the end of any musical era, the end of the medieval era is marked by a highly manneristic style known as Ars subtilior. Baude Cordier (*ca 1380 in Rheims, died before 1440 was a French Composer from Rheims; it has been suggested that Cordier was the Nom The Chantilly Codex (Chantilly Musee Conde MS 564 is a manuscript of Medieval music containing pieces from the style known as the Ars subtilior Ars subtilior (more subtle art is a Musical style characterized by rhythmic and notational complexity centered around Paris, Avignon In some ways, this was an attempt to meld the French and Italian styles. This music was highly stylized, with a rhythmic complexity that was not matched until the 20th century. In fact, not only was the rhythmic complexity of this repertoire largely unmatched for five and a half centuries, with extreme syncopations, mensural trickery, and even examples of augenmusik (such as a chanson by Baude Cordier written out in manuscript in the shape of a heart), but also its melodic material was quite complex as well, particularly in its interaction with the rhythmic structures. Baude Cordier (*ca 1380 in Rheims, died before 1440 was a French Composer from Rheims; it has been suggested that Cordier was the Nom Already discussed under Ars Nova has been the practice of isorhythm, which continued to develop through late-century and in fact did not achieve its highest degree of sophistication until early in the 15th century. Instead of using isorhythmic techniques in one or two voices, or trading them among voices, some works came to feature a pervading isorhythmic texture which rivals the integral serialism of the 20th century in its systematic ordering of rhythmic and tonal elements. The term "mannerism" was applied by later scholars, as it often is, in response to an impression of sophistication being practised for its own sake, a malady which some authors have felt infected the Ars subtilior.

One of the most important extant sources of Ars Subtilior chansons is the Chantilly Codex. The Chantilly Codex (Chantilly Musee Conde MS 564 is a manuscript of Medieval music containing pieces from the style known as the Ars subtilior

For information about specific composers writing music in Ars subtilior style, see Anthonello de Caserta, Philippus de Caserta (aka Philipoctus de Caserta), Johannes Ciconia, Matteo da Perugia, Lorenzo da Firenze, Grimace, Jacob Senleches, and Baude Cordier. Ars subtilior (more subtle art is a Musical style characterized by rhythmic and notational complexity centered around Paris, Avignon Antonello da Caserta, also Anthonello, Antonellus Marot, was an Italian composer of the medieval era, active in the late 14th and early 15th centuries Philippus de Caserta, also Philipoctus or Filipoctus (dates unknown late 14th century was a medieval Music theorist and Composer Johannes Ciconia (c 1335 or c 1370 &ndash between June 10 and July 12, 1412) was a late medieval Composer and music theorist Matteo da Perugia (fl 1400 - 1416) was a Medieval Italian composer presumably from Perugia. Lorenzo da Firenze (Magister Laurentius de Florentia Masini (d Grimace (also Grymace or Grimache) was a French Composer active in the mid-to-late 14th century Jacob Senleches (fl 1382/1383 &ndash 1395 (also Jacob Senlechos and Jacopinus Selesses) was a Franco-Flemish composer and harpist of the late Medieval era Baude Cordier (*ca 1380 in Rheims, died before 1440 was a French Composer from Rheims; it has been suggested that Cordier was the Nom

Transitioning to the Renaissance

Demarcating the end of the medieval era and the beginning of the Renaissance, with regards to the composition of music, is problematic. While the music of the fourteenth century is fairly obviously medieval in conception, the music of the early fifteenth century is often conceived as belonging to a transitional period, not only retaining some of the ideals of the end of the Middle Ages (such as a type of polyphonic writing in which the parts differ widely from each other in character, as each has its specific textural function), but also showing some of the characteristic traits of the Renaissance (such as the international style developing through the diffusion of Franco-Flemish musicians throughout Europe, and in terms of texture an increasing equality of parts). The Renaissance began early in Italy, but musical innovation there lagged far behind that of France and England; the Renaissance came late to England, but musical innovation there was ahead of continental Europe.

Music historians do not agree on when the Renaissance era began, but most historians agree that England was still a medieval society in the early fifteenth century (see a discussion of periodization issues of the Middle Ages). While there is no consensus, 1400 is a useful marker, because it was around that time that the Renaissance came into full swing in Italy. Italy (Italia officially the Italian Republic, (Repubblica Italiana is located on the Italian Peninsula in Southern Europe, and on the two largest

The increasing reliance on the interval of the third as a consonance is one of the most pronounced features of transition into the Renaissance. Polyphony, in use since the 12th century, became increasingly elaborate with highly independent voices throughout the 14th century. With John Dunstaple and other English composers, partly through the local technique of faburden (an improvisatory process in which a chant melody and a written part predominantly in parallel sixths above it are ornamented by one sung in perfect fourths below the latter, and which later took hold on the continent as "fauxbordon"), the interval of the third emerges as an important musical development; because of this Contenance Angloise ("English countenance"), English composers' music is often regarded as the first to sound less truly bizarre to modern, unschooled audiences. John Dunstaple or Dunstable (c 1390 &ndash December 24, 1453) was an English composer of polyphonic Music of the late Fauxbourdon (also Fauxbordon, and also commonly two words Faux Bourdon) &ndash French for false bass &ndash is a technique English stylistic tendencies in this regard had come to fruition and began to influence continental composers as early as the 1420s, as can be seen in works of the young Dufay, among others. Guillaume Dufay ( Du Fay, Du Fayt) ( August 5, 1397 ? &ndash November 27, 1474) was a Franco-Flemish composer While the Hundred Years' War continued, English nobles, armies, their chapels and retinues, and therefore some of their composers, travelled in France and performed their music there; it must also of course be remembered that the English controlled portions of northern France at this time. The Hundred Years' War (Guerre de Cent Ans was a prolonged conflict lasting from 1337 to 1453 between two royal houses for the French throne vacant with the extinction of the senior

English manuscripts include the Worcester Fragments, the Old St. Andrews Music Book, the Old Hall Manuscript, and Egerton Manuscript. The Old Hall Manuscript (British Library Additional MS 57950 is the largest most complete and most significant source of English sacred music of the late 14th

For information about specific composers who are considered transitional between the medieval and the Renaissance, see Roy Henry, Arnold de Lantins, Leonel Power, John Dunstaple, Guillaume Dufay, and Gilles Binchois. Roy Henry ("King" Henry (fl around 1410) was an English composer almost certainly a king of England probably Henry V, but also possibly Arnold de Lantins (fl 1420s d before July 2, 1432) was a Franco-Flemish composer of the late Medieval era and early Renaissance Leonel Power (1370 to 1385 &ndash June 5 1445) was an English composer of the late Medieval and early Renaissance eras John Dunstaple or Dunstable (c 1390 &ndash December 24, 1453) was an English composer of polyphonic Music of the late Guillaume Dufay ( Du Fay, Du Fayt) ( August 5, 1397 ? &ndash November 27, 1474) was a Franco-Flemish composer Gilles Binchois, also known as Gilles de Binche or Gilles de Bins (c

Further reading

Study and vocational training

The Schola Cantorum Basiliensis, university for old music in Basel, Switzerland, provides the only full-time practical study course for the music of the Middle Ages. Schola Cantorum Basiliensis is a music academy and research institution located in Basel, Switzerland, and focusing on Early music and Historically "Basilia" redirects here For the Fly Genus, see Basilia (fly. Switzerland (English pronunciation; Schweiz Swiss German: Schwyz or Schwiiz Suisse Svizzera Svizra officially the Swiss Confederation A two-year vocational training for musicians is offered at the academy Burg Fürsteneck in Germany. Germany, officially the Federal Republic of Germany ( ˈbʊndəsʁepuˌbliːk ˈdɔʏtʃlant is a Country in Central Europe.

See also

External links

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