Medieval

**Medieval music** consists of songs, instrumental pieces, and liturgical music from about 500 A.D. to 1400. Medieval music was an era of Western music, including liturgical music (also known as sacred) used for the church, and secular music, non-religious music. Medieval music includes solely vocal music, such as Gregorian chant and choral music (music for a group of singers), solely instrumental music, and music that uses both voices and instruments (typically with the instruments accompanying the voices). Gregorian chant was sung by monks during Catholic Mass. The Mass is a reenactment of Christ's Last Supper, intended to provide a spiritual connection between man and God. Part of this connection was established through music. This era begins with the fall of the Western Roman Empire in the fifth century and ends sometime in the early fifteenth century. Establishing the end of the medieval era and the beginning of the Renaissance music era is difficult since the trends started at different times in different regions. The date range in this article is the one usually adopted by musicologists.

During the Medieval period the foundation was laid for the music notation and music theory practices that would shape Western music into the norms that developed during the common-practice era, a period of shared music writing practices which encompassed the Baroque music composers from 1600–1750, such as J.S. Bach and Classical music period composers from the 1700s such as W.A. Mozart and Romantic music era composers from the 1800s such as Wagner. The most obvious of these is the development of a comprehensive music notational system which enabled composers to write out their song melodies and instrumental pieces on parchment or paper. Prior to the development of musical notation, songs and pieces had to be learned "by ear", from one person who knew a song to another person. This greatly limited how many people could be taught new music and how wide music could spread to other regions or countries. The development of music notation made it easier to disseminate (spread) songs and musical pieces to a larger number of people and to a wider geographic area. However the theoretical advances, particularly in regard to rhythm—the timing of notes—and polyphony—using multiple, interweaving melodies at the same time—are equally important to the development of Western music.

## Ars antiqua

**Ars antiqua**, also called **ars veterum** or **ars vetus**, is a term used by modern scholars to refer to the Medieval music of Europe during the high Middle Ages, between approximately 1170 and 1310. This covers the period of the Notre Dame school of polyphony (the use of multiple, simultaneous, independent melodic lines), and the subsequent years which saw the early development of the motet, a highly varied choral musical composition. Usually the term "ars antiqua" is restricted to sacred (church) or polyphonic music, excluding the secular (non-religious) monophonic songs of the troubadours, and trouvères. However, sometimes the term "ars antiqua" is used more loosely to mean all European music of the thirteenth century, and from slightly before. The term *ars antiqua* is used in opposition to *ars nova* (meaning "new art", "new technique" or "new style"), which refers to the period of musical activity between approximately 1310 and 1375.

## Ars nova

**Ars nova** (Latin for **new art**) refers to a musical style which flourished in France and the Burgundian Low Countries in the Late Middle Ages: more particularly, in the period between the preparation of the *Roman de Fauvel* (1310s) and the death of the composer Guillaume de Machaut in 1377. The term is sometimes used more generally to refer to all European polyphonic music of the 14th century. For instance, "Italian ars nova" is sometimes used to denote the music of Francesco Landini and his compatriots (although Trecento music is the more common term for music in Italy). The "ars" in "ars nova" can be read as "technique", or "style". The term was first used in two musical treatises, titled *Ars novae musicae* (New Technique of Music) (c. 1320) by Johannes de Muris, and a collection of writings (c. 1322) attributed to Philippe de Vitry often simply called "Ars nova" today. However, the term was only first used to describe an historical era by Johannes Wolf in 1904.

The term "ars nova" is often used in juxtaposition to another term, "ars antiqua", which refers to the music of the immediately preceding age, usually extending back to take in the period of Notre Dame polyphony (therefore covering the period from about 1170 to 1320). Roughly, then, the "ars antiqua" is the music of the thirteenth century, and the "ars nova" the music of the fourteenth; many music histories use the terms in this more general sense.

The period from the death of Machaut (1377) until the early fifteenth century, including the rhythmic innovations of the ars subtilior, is sometimes considered part of the ars nova and sometimes considered an independent period. Other musical periods and styles have at various times been called the "new art" (Tinctoris used the term to describe Dunstaple), however, in modern historiographical usage, it is restricted entirely to the period described above.

## Ars subtilior

***Ars subtilior*** (more subtle art) is a musical style characterized by rhythmic and notational complexity, centered on Paris, Avignon in southern France, also in northern Spain at the end of the fourteenth century. The style also is found in the French Cypriot repertory. Often the term is used in contrast with *ars nova*, which applies to the musical style of the preceding period from about 1310 to about 1370; though some scholars prefer to consider the *ars subtilior* a subcategory of the earlier style. Primary sources for the *ars subtilior* are the Chantilly Codex, the Modena Codex (Mod A M 5.24), and the Turin Manuscript (Torino J.II.9).