Gullaume De Machaut And The Ars Nova Musical Style

19. Who is Guillaume de Machaut? 14th century poet and musician who composed the first complete polyphonic setting of the entire Ordinary of the Mass.

After listening to Machaut, the music has wavelike melodies containing long melismas. The listener should hear three voices. Ma fin est mon commencement is a polyphonic chanson, which was heavily favored. Machauts work presents the listener with an enigmatic text as well as a musical structure that involves retrograde movement. Ma fin est mon commencement features two sections, A and B, and palindromes in voices. Each voice is distinct, as they do not imitate one another. The two sections, A and B, repeat, AbaAabAB. The harmony can be described as consonant with open, hollow cadences.

Pérotin is hailed as a sort of Mozart of his time. He was a scholarly musician and musical innovator . Pérotin is called by many different names: Perotinus – his Latin Name and Perotinus Magnus – Pérotin the Great ; and even “optimus discantor”, or great composer of discant. According to Hussman, Pérotin was a court composer for Notre Dame, but his connection to Notre Dame is not entirely confirmed. It is because of an account by the English traveler Anonymous IV and letters to a Bishop that it is accepted that Pérotin was associated with Notre Dame. Whether he wrote specifically for Notre Dame or not, Pérotin wrote magnificent music that has been preserved for several centuries to this day .

1801, He became slowly going to be deaf how ever he carries doing the music and wrote many paces music composers

Have you ever heard of music, with no instruments? Now you have! A cappella is the style of music that makes all sounds, instrumental or vocal, with only their mouths. A cappella not a genre, but a style of music. A cappella has taken over the lives of many people. Karmin did a song named A Cappella. Pentatonix was on the Sing Off. Because cappella has an in depth history, it has many people making a fortune, like Pentatonix and Karmin and has many different ways to do it like genres, styles etc.

Latin Percussion is a brand founded on sheer love for the instruments they make. Started by Martin Cohen in 1964, Latin Percussion is a company born out of necessity. After Martin Cohen was unable to find any of the hand percussion instruments that he loved (partly attributed to the recent Cuban Missile Crisis and the Cuban Embargo that followed it), he decided to learn how to make the instruments that he cherished. Martin Cohen was quick to put his instruments into the hands of legends such as Tito Puente and out of that, the Latin Percussion legend was established. Since Latin Percussion started it has remained the uncontested leader in reliable, great sounding hand percussion and extra percussion that can be used either on its own or alongside

When looking at music from the fourteenth century, it is vital to look deeply into the music of France. Many of the most important composers, genres, principles, etc. from this time are established, popularized and built upon. By the fourteenth century, Ars Nova is well established as a treatise and as a style of music, and many different genres of music are categorized as Ars Nova music. The motet is built upon even more, and secular polyphony is very popular. One of the most popular and frequently used types of secular polyphony was the formes fixes, French poetic forms translated into musical forms. There are three different types of formes fixes: the rondeau, the ballade, and the virelai, with each type being different to one another. Many composers of the fourteenth century used formes fixes, with Philippe de Vitry being the first to use them, and the most significant composer to use them was Guillaume de Machaut. I will be looking into what makes each type of formes fixes different from one another, as well as seeing how composers such as Machaut created them and used them in his repertory and how each type has evolved through the fourteenth and

Philippe de Vitry and Guillaume de Machaut in the following century were also the leading composers of medieval

Subsequent to learning about medieval instruments in class, I was interested in learning about the origins of my own instrument, the cello. After perusing the library for an hour and reading through several different books discussing the topic of medieval and early instruments, I learned my topic is a far more controversial topic than I had previously considered. There is much debate about where the instrument originated from and to which family it belongs to. So without further ado I present this paper, a collection of works and the arguments they present regarding my beloved cello.

Poulenc would tell Éluard, “”Poor Paul, I’m going to slaughter you a little bit more…” “I’m glad of it,” he’d say politely, “but do it quickly, I’m so impatient to hear you…”” (Dobson 101). Breton, Éluard, and Aragon “all detested music” (Dobson 101). But “at the end of his life Éluard became more accessible to it” (Dobson 101). He would find difficulties though when putting Paul’s writings to music, as the titles were “very visual, [they] work when the poems appear alongside engravings, [or] illustrations by Picasso, but [they were] not suitable for music” (Dobson 101). This obsession with his work would continue from many years, from 1916 until Éluard’s death in

In the year 1160 the composer Perotin was born in Paris France. It is believed that he worked with Leonins on most of his pieces at Notre Dame. He was also sometimes called “Perotinus”.

Organum[1] (/ˈɔːrɡənəm/) is, when all is said in done, a plainchant song with no less than one added voice to improve the concordance, created in the Middle Ages. Contingent upon the mode and type of the serenade, a supporting bass line (or bourdon) might be sung on the same content, the tune might be followed in parallel movement (parallel organum), or a blend of both of these systems might be utilized. As no genuine free second voice exists, this is a type of

Rarely in the documented history of music can we found a collection of compositions more perfectly tied to an instrument, than that of the Baroque school of French organ composition. Looking at the earliest examples of music from this period (which stem from even earlier vocal polyphony), one will find forms and techniques indubitably connected to the organ. By the start of the sixteenth century, the establishment of colloquial categories of organ composition, and independent vocal forms, were finally acknowledged. For the following two centuries the technical progression of the organ in conjunction with musical development, resulted in every stop on Baroque French organs being given a standardised function. This function was almost always outlined at the beginning of a score by the composer.

The use of vibrato in music stemming from the Late Renaissance music is highly debated. Christopher Jackson’s article entitled “An Examination of Vibrato” discusses the issues revolving around the use of vibrato in music from the Late Renaissance time period. The author’s goals isn’t to arrive at a side of the matter. However, he clearly states that he wishes to “shed some new light on the views of these two opposing schools…” I believe this article is meant for both musicologists and choral directors alike. The music of this time period is still being performed to this day and each performance varies due to different interpretations of a particular piece. This article can serve as a great tool for advising choral directors on specific decisions they must make within a piece regarding the use of vibrato. The article can also be directed to musicologist who have had debates about this vocal technique. Without any clear resolution, it leaves the question open-ended, however, it does give insight on the two sides which helps inform musicologists who favor a particular idea about the other argument.

Guillaume de Machaut (~1300-1377) was born in Northern France. He was a leading composer of the French Ars Nova movement, and also expanded upon the concept of motets. He also made the first solo polyphonic cycle of the Mass Ordinary (Evans 2013) Machaut is primarily known for his work of Messe de Nostre Dame, the first polyphonic setting of the Mass Ordinary as a coherent cycle.