{"id":660,"date":"2017-02-06T01:57:07","date_gmt":"2017-02-06T01:57:07","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=660"},"modified":"2020-04-11T21:51:19","modified_gmt":"2020-04-11T21:51:19","slug":"machaut","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/machaut\/","title":{"raw":"Ars Nova - Machaut","rendered":"Ars Nova – Machaut"},"content":{"raw":"

France: Ars Nova<\/i><\/span><\/h3>\r\nThe beginning of the Ars nova<\/i>\u00a0corresponds to the publication of the Roman de Fauvel<\/i>, a huge compilation of poetry and music, in 1310 and 1314. The Roman de Fauvel<\/i> is a satire on abuses in the medieval church, and is filled with medieval motets, lais, rondeaux and other new secular forms. The term \u201cArs nova<\/i>\u201d (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.\r\n\r\nAlthough most\u00a0 music is anonymous, several pieces were known by Philippe de Vitry. De Vitry is\u00a0 one of the first composers of the isorhythmic motet,\u00a0 which distinguishes the fourteenth century. Guillaume de Machaut.\r\n
\r\n\r\n\"Page<\/a>\r\n

Page of the French manuscript Livres de Fauvel, Paris (ca. 1318), \u201cthe first practical source of Ars nova music.\u201d<\/p>\r\n\r\n<\/div>\r\nDuring the Ars nova<\/i> era, secular music acquired a polyphonic sophistication formerly found only in sacred music. \u00a0The dominant secular genre\u00a0 was the chanson<\/i>, This tradition\u00a0 carried on in France for another two centuries. Chansons were composed in musical forms corresponding to the poetry they set, which were in the so-called formes fixes<\/i> of rondeau<\/i>, ballade<\/i>, and virelai<\/i>.\r\n\r\nIn sacred music the long tradition of setting the ordinary of the\u00a0 mass started\u00a0 around mid-century\u00a0 with isolated or paired settings of Kyries, Glorias\u00a0 (parts of the mass). .\u00a0 Machaut composed what is thought to be the first complete mass conceived as one composition.\r\n\r\nThe style of\u00a0 Ars Nova music is very much one of linear melody with rhythmic complexity. Cadences\u00a0 are the fifth and octave of the\u00a0 scale.\u00a0 Unlike the music of today, thirds and sixths\u00a0 were considered dissonances\u00a0 \u00a0Leaps were common, leading to speculation of instrumental participation\u00a0 as instruments could\u00a0 more easily perform wide intervals.\r\n\r\nMachaut -\u00a0<\/strong>Guillaume de Machaut was born about 1300, and educated in the region around Reims. He was \u00a0an extremely significant composer and poet serving as a high-ranking church official in the service of various kings and nobles but also equally comfortable in sacred and secular worlds. His Messe de Nostre Dame<\/em> is the first complete setting of the Ordinary of the mass by a single composer\u00a0 (see above)\u00a0 that has survived. He also composed courtly poetry and polyphonic songs that are the clear descendants of the troubadour song of previous centuries.\r\n

\r\n\r\n[caption id=\"attachment_162\" align=\"alignright\" width=\"350\"]\"Figure<\/a> Figure 1. Machaut (at right) receiving Nature and three of her children. From an illuminated Parisian manuscript of the 1350s[\/caption]\r\n\r\nWell into the fifteenth\u00a0century, Machaut's poetry was greatly admired and imitated by other poets, including Geoffrey Chaucer.\r\n\r\nMachaut composed in a wide range of styles and forms.\u00a0<\/i>\u00a0Machaut helped develop the motet and secular song forms.\r\n\r\n<\/span>\u00a0 Machaut, having\u00a0 survived the Black Death that devastated Europe,\u00a0 spent his later years living in Reims composing and supervising the creation of his complete-works manuscripts. He died in 1377.\r\n\r\nPoetry<\/strong>\r\nThe vast majority of Machaut's lyric poems reflect the conventions of courtly love, and involve statements of service to a lady and the poet's pleasure and pains. In technical terms, Machaut was a master of elaborate rhyme schemes,\u00a0and \u00a0did much to perfect and codify these fixed \u00a0musical forms of the time.\u00a0\u00a0Machaut's narrative output is dominated by \u00a0works not meant to be sung. These first-person narrative poems\u00a0 include the use of allegorical dreams (songes<\/i>), allegorical characters, and the situation of the narrator-lover attempting to return toward or satisfy his lady.<\/span>\r\n<\/span>\r\n

Example - See the translation below. Does not the the\u00a0 mood of this song\u00a0 convey the feelings in the lyrics?<\/span><\/h3>\r\n<\/div>\r\nhttps:\/\/youtu.be\/0yi2MMtIimY\r\n
\r\n\r\nThe poem below, Puis qu'en oubli<\/i>, is his 18th rondeau.\r\n
\r\n\r\nPuis qu'en oubli sui de vous, dous amis,\r\nVie amoureuse et joie a Dieu commant.<\/i>\r\nMar vi le jour que m'amour en vous mis,<\/i>\r\nPuis qu'en oubli sui de vous, dous amis.<\/i>\r\nMais ce tenray que je vous ay promis,<\/i>\r\nC'est que ja mais n'aray nul autre amant.<\/i>\r\nPuis qu'en oubli sui de vous, dous amis,<\/i>\r\nVie amoureuse et joie a Dieu commant.<\/i>\r\n\r\n<\/div>\r\nTranslation:\r\n<\/strong>Since I am forgotten by you, sweet friend,\r\n<\/span>I bid farewell to a life of love and joy.<\/span>\r\n<\/span>\r\n\r\n<\/div>\r\nUnlucky was the day I placed my love in you;\r\nSince I am forgotten by you, sweet friend.\r\n\r\nBut what was promised you I will sustain:\r\nThat I shall never have any other love.\r\nSince I am forgotten by you, sweet friend,\r\nI bid farewell to a life of love and joy.\r\n
\r\n\r\nSecular music of Machaut:<\/strong>\u00a0 As a composer of the fourteenth\u00a0century, Machaut's secular song output includes monophonic lais and virelais, which continue, in updated forms, some of the tradition of the troubadours. He also worked in the polyphonic forms of the ballade and rondeau.\r\n\r\nThe lyrics of Machaut's works almost always dealt with courtly love. Machaut mostly composed in five genres: the lai, the virelai, the motet, the ballade, and the rondeau. In these genres, Machaut \u00a0often utilized creative text setting and\u00a0cadences. For example, most rondeau phrases end with a long melisma on the penultimate syllable. However, a few of Machaut's rondeaux, such as R18 \"Puis qu'en oubli,\" \u00a0 Utube video presented here are mostly syllabic in treatment.\r\n\r\nMachaut's motets often contain sacred texts in the tenor, \u00a0The top two voices in contrast sing secular French texts with other voices singing in latin, creating interesting concordances between the sacred and secular. In other genres, he does not utilize sacred texts.\r\n

Sacred Music<\/span><\/h3>\r\n<\/div>\r\nhttps:\/\/en.wikipedia.org\/wiki\/Ars_nova<\/span>\r\n
\r\n\r\nMachaut's cyclic setting of the Mass, identified in one source as the Messe de Nostre Dame (\"Mass of Our Lady\"), was composed in the early 1360s probably for Rheims Cathedral. It was the first by a single composer and conceived as a unit. Machaut's composition shares shares many stylistic features\u00a0 with an earlier clyclic Mass the Tournai Mass\u00a0 including textless interludes.\r\n\r\n<\/div>\r\n
\r\n

Listen: Kyrie from the Messe de Nostre Dame<\/h4>\r\nBy Guillaume de Machaut. Please note this is not a vocal rendition but midi instrumental version. Note that the sounds\u00a0 (tone colors) do not blend\u00a0 or appear to be balanced in a way we would be use to hearing in present day. Try to hear the individual parts\u00a0<\/em>\r\n\r\n[audio ogg=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/f\/f8\/Machaut_-_Missa_Notre_Dame_-_Kyrie.ogg\"][\/audio]\r\n\r\n<\/div>\r\n
\r\n\r\nWhether or not Machaut's mass is indeed cyclic is contested. However, the mass can be said to be stylistically consistent. The chosen chants are all celebrations of Mary, the mother of Jesus. Adding weight to the claim that the mass is cyclic is the possibility that the piece was written or assembled for performance at a specific celebration. \u00a0The composer's intention that the piece be performed as one entire mass setting makes the Messe de Nostre Dame generally considered a cycllical work\r\n\r\n<\/div>\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tcc-mus121-1\/chapter\/guillaume-de-machaut-e\/<\/span>\r\n\r\nModified - Robert Ford<\/span>","rendered":"

France: Ars Nova<\/i><\/span><\/h3>\n

The beginning of the Ars nova<\/i>\u00a0corresponds to the publication of the Roman de Fauvel<\/i>, a huge compilation of poetry and music, in 1310 and 1314. The Roman de Fauvel<\/i> is a satire on abuses in the medieval church, and is filled with medieval motets, lais, rondeaux and other new secular forms. The term \u201cArs nova<\/i>\u201d (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.<\/p>\n

Although most\u00a0 music is anonymous, several pieces were known by Philippe de Vitry. De Vitry is\u00a0 one of the first composers of the isorhythmic motet,\u00a0 which distinguishes the fourteenth century. Guillaume de Machaut.<\/p>\n

\n

\"Page<\/a><\/p>\n

Page of the French manuscript Livres de Fauvel, Paris (ca. 1318), \u201cthe first practical source of Ars nova music.\u201d<\/p>\n<\/div>\n

During the Ars nova<\/i> era, secular music acquired a polyphonic sophistication formerly found only in sacred music. \u00a0The dominant secular genre\u00a0 was the chanson<\/i>, This tradition\u00a0 carried on in France for another two centuries. Chansons were composed in musical forms corresponding to the poetry they set, which were in the so-called formes fixes<\/i> of rondeau<\/i>, ballade<\/i>, and virelai<\/i>.<\/p>\n

In sacred music the long tradition of setting the ordinary of the\u00a0 mass started\u00a0 around mid-century\u00a0 with isolated or paired settings of Kyries, Glorias\u00a0 (parts of the mass). .\u00a0 Machaut composed what is thought to be the first complete mass conceived as one composition.<\/p>\n

The style of\u00a0 Ars Nova music is very much one of linear melody with rhythmic complexity. Cadences\u00a0 are the fifth and octave of the\u00a0 scale.\u00a0 Unlike the music of today, thirds and sixths\u00a0 were considered dissonances\u00a0 \u00a0Leaps were common, leading to speculation of instrumental participation\u00a0 as instruments could\u00a0 more easily perform wide intervals.<\/p>\n

Machaut –\u00a0<\/strong>Guillaume de Machaut was born about 1300, and educated in the region around Reims. He was \u00a0an extremely significant composer and poet serving as a high-ranking church official in the service of various kings and nobles but also equally comfortable in sacred and secular worlds. His Messe de Nostre Dame<\/em> is the first complete setting of the Ordinary of the mass by a single composer\u00a0 (see above)\u00a0 that has survived. He also composed courtly poetry and polyphonic songs that are the clear descendants of the troubadour song of previous centuries.<\/p>\n

\n
\"Figure<\/a><\/p>\n

Figure 1. Machaut (at right) receiving Nature and three of her children. From an illuminated Parisian manuscript of the 1350s<\/p>\n<\/div>\n

Well into the fifteenth\u00a0century, Machaut’s poetry was greatly admired and imitated by other poets, including Geoffrey Chaucer.<\/p>\n

Machaut composed in a wide range of styles and forms.\u00a0<\/i>\u00a0Machaut helped develop the motet and secular song forms.<\/p>\n

<\/span>\u00a0 Machaut, having\u00a0 survived the Black Death that devastated Europe,\u00a0 spent his later years living in Reims composing and supervising the creation of his complete-works manuscripts. He died in 1377.<\/p>\n

Poetry<\/strong>
\nThe vast majority of Machaut’s lyric poems reflect the conventions of courtly love, and involve statements of service to a lady and the poet’s pleasure and pains. In technical terms, Machaut was a master of elaborate rhyme schemes,\u00a0and \u00a0did much to perfect and codify these fixed \u00a0musical forms of the time.\u00a0\u00a0Machaut’s narrative output is dominated by \u00a0works not meant to be sung. These first-person narrative poems\u00a0 include the use of allegorical dreams (songes<\/i>), allegorical characters, and the situation of the narrator-lover attempting to return toward or satisfy his lady.<\/span>
\n<\/span><\/p>\n

Example – See the translation below. Does not the the\u00a0 mood of this song\u00a0 convey the feelings in the lyrics?<\/span><\/h3>\n<\/div>\n