PHILOSOPHICAL AND CULTURAL CONTEXT OF THE ARS SUBTILIOR STYLE

Authors

  • Mykola Khshanovskyi

Keywords:

Ars Nova, Ars subtilior, medieval philosophy, William of Ockham, sophisms, notation, rhythmics

Abstract

The methodology of the research is based on the use of historical and theoretical methods. Conclusions: Composers of Ars subtilior style tried to achieve absolute possibilities in music: the complexity of rhythm, visual representation and lyrical content, the variety of ways to fix it, and, to a lesser extent, the matter of harmony. Like their contemporaries in the domain of logic, composers accepted simple logical puzzles and deliberately made them as difficult as possible. It looked like this: the composers of Ars subtilior took simple melodic lines and decorated them in various ways, as if competing among themselves, just for the sake of the complexity of the experiment. Following the example of their predecessors, Ars subtilior composers focused on expanding the boundaries of rhythm and notation more than on other musical components (for example, harmony and melody). However, they did this more for the sake of curiosity, not seeking to improve or clarify the rhythm and notation. Experiments in the development of rhythmics went in parallel with the development of other medieval sciences. Especially close and obvious contact can be traced with the philosophy of the same time. The 13th century in Western Europe became a period of its rapid development. There were created philosophical schools, particularly in England, France, Italy. The largest European philosophical center was created at Oxford University. As a result, in the XIV century, the scientific and intellectual world began to change radically and to differ from what it was before. Medieval European science and music managed to develop to a high level of intellectualism, making Europe one of the most progressive civilizations. Philosophers of the fourteenth century sought to improve their own understanding of the world,expand its boundaries. They liked to formulate their ideas in the form of puzzles, intentionally complicated, sophisticated and confusing to make the solutions hard to find.

References

Горлач М.І., Кремень В.Г., Ніколаєнко С.М., Требін М.П. та ін. Основи філософських знань: Підручник. К.: Центр учбової літератури, 2008. – 1028 с.

Евдокимова Ю. К. История полифонии. Многоголосие средневековья XXIV век. Вып. 1. Москва, 1983. 461 с.

Евдокимова Ю. К. Полифония Средних веков и эпохи Возрождения. Москва, 1985. 60 с.

Books LLC Staff. Ars Subtilior Composers: Ars Subtilior. General Books LLC, 2010. 46 p.

Caldwell J. Medieval Music. Bloomington: Indiana University Press, 1978.

Crosby A.W. The Measure of Reality. Cambridge: Cambridge University Press, 1997. 18 p.

Duffin R.W. A Performer’s Guide to Medieval Music. Indiana University Press, 2000. 594 p.

Günther U. Die Ars subtilior // Hamburger Jahrbuch für Musikwissenschaft. 1991. No. 11. S. 88–277.

Parrish C. The Notation of Medieval Music. New York: W.W. Norton and Company, 1959. 231 p.

Taruskin R. Music from the Earliest Notations to the Sixteenth Century // Oxford History of Western Music: 5-vol. set. Oxford: Oxford University Press, 2005.

Wright C. Tapissier and Cordier: New Documents and Conjectures. – Musical Quarterly, 1973. P. 177-189.

Published

2023-04-02