Johannes de Garlandia ( Johannes Gallicus ) ( fl. Tooltip floruit c. 1270 – 1320) was a French music theorist of the late ars antiqua period of medieval music . He is known for his work on the first treatise to explore the practice of musical notation of rhythm , De Mensurabili Musica .
17-406: De Mensurabili Musica (concerning measured music) is a musical treatise from the early 13th century (medieval period, c. 1240 ) and is the first of two treatises traditionally attributed to French music theorist Johannes de Garlandia ; the other is de plana musica (Concerning Plainchant). De Mensurabili Musica was the first to explain a modal rhythmic system that was already in use at
34-432: A phrase, changing to a different mode only after a cadence . Only with the development of the music of the ars nova in the early 14th century was the regular modal rhythm to break down and be supplanted by freer rhythms, as made possible by the development of precise notation. It is not certain how much of the treatise was written anonymously, and how much Garlandia edited it, except that Garlandia probably wrote some of
51-781: A role as a teacher at the University of Paris . De mensurabili musica , most likely written around 1240, is the single most important treatise in the early history of rhythmic notation, for it is the first to propose notation of rhythm. Specifically, it describes a practice already in use, known as modal rhythm, which used the rhythmic modes . In this system, notes on the page are assigned to groups of long and short values based on their context. De mensurabili musica describes six rhythmic modes, corresponding to poetic feet: long–short ( trochee ), short–long ( iamb ), long–short–short ( dactyl ), short–short–long ( anapest ), long–long ( spondee ), and short–short ( pyrrhic ). Notation had not yet evolved to
68-490: Is evident in his considerable body of motets, lais , virelais , rondeaux and ballades . Towards the end of the fourteenth century, a new stylistic school of composers and poets centered in Avignon in southern France developed; the highly mannered style of this period is often called the ars subtilior , although some scholars have chosen to consider it a late development of the ars nova rather than separating it into
85-482: Is the more common term for the contemporary 14th-century 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. Musicologist Johannes Wolf first applied to
102-554: The Late Middle Ages . More particularly, it refers to the period between the preparation of the Roman de Fauvel (1310s) and the death of composer Guillaume de Machaut in 1377. The term is sometimes used more generally to refer to all European polyphonic music of the fourteenth century. For instance, the term "Italian ars nova " is sometimes used to denote the music of Francesco Landini and his compatriots, although Trecento music
119-414: The introduction of perspective in painting, and it is useful to consider that the changes to music in the period of the ars nova were contemporary with the great early Renaissance revolutions in painting and literature. The most famous practitioner of the new musical style was Guillaume de Machaut , who also had a distinguished career as a canon at Reims Cathedral and as a poet. The ars-nova style
136-493: The later chapters in their entirety. Franco of Cologne , writing around 1280, clearly borrowed portions of the unedited version. Garlandia's achievement was to refine and disseminate it; his position as a bookseller may have something to do with its wide distribution and influence. Ars nova Ars nova ( Latin for new art ) refers to a musical style which flourished in the Kingdom of France and its surroundings during
153-538: The mid-1980s it was believed that Johannes de Garlandia lived in the first half of the 13th century and wrote two treatises , De Mensurabili Musica and De plana musica , and thus was intimately connected with the composers of the Notre-Dame school , at least one of whom – Pérotin – may still have been alive in the earlier part of his career. Unfortunately the linking of his name with those two works only began after 1270, and it now seems likely that Garlandia
170-542: The number of theorists that have used its ideas. Much of the surviving music of the Notre Dame School from the 13th century is based on the rhythmic modes set out in De Mensurabili Musica . [B] Bruges, Ms. 528 , f. 54v-59v [P] Paris, Bibliothèque Nationale, Latin 16663 , f. 66v-76v [V] Biblioteca Apostolica Vaticana, Vat.lat.5325 , f. 12v-30v Johannes de Garlandia (music theorist) Until
187-492: The point where the appearance of each note gave its duration; that had still to be understood from the position of a note in a phrase, which of the six rhythmic modes was being employed, and a number of other factors. Modal rhythm is the defining rhythmic characteristic of the music of the Notre Dame school, giving it an utterly distinct sound, one which was to prevail throughout the 13th century. Usually one mode prevailed through
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#1732854738221204-449: The polyphonic sophistication previously found only in sacred music; and new techniques and forms, such as isorhythm and the isorhythmic motet , became prevalent. The overall aesthetic effect of these changes was to create music of greater expressiveness and variety than had been the case in the thirteenth century. Indeed, the sudden historical change which occurred, with its startling new degree of musical expressiveness, can be likened to
221-420: The term as description of an entire era (as opposed to merely specific persons) in 1904. The term ars nova is often used in juxtaposition to two other periodic terms, of which the first, ars antiqua , refers to the music of the immediately preceding age, usually extending back to take in the period of Notre Dame polyphony (from about 1170 to 1320). Roughly, then, ars antiqua refers to music of
238-447: The term to describe Dunstaple ; however, in modern historiographical usage, it is restricted entirely to the period described above. Stylistically, the music of the ars nova differed from the preceding era in several ways. Developments in notation allowed notes to be written with greater rhythmic independence, shunning the limitations of the rhythmic modes which prevailed in the thirteenth century; secular music acquired much of
255-490: The thirteenth century, and the ars nova that 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 the end of, or late, ars nova but at other times an independent era in music. Other musical periods and styles have at various times been called "new art." Johannes Tinctoris used
272-416: The time: the rhythmic modes . The six rhythmic modes set out by the treatise are all in triple time and are made from combinations of the note values longa (long) and brevis (short) and are given the names trochee , iamb , dactyl , anapest , spondaic and tribrach , although trochee, dactyl and spondaic were much more common. It is evident how influential Garlandia's treatise has been by
289-485: Was one Jehan de Garlandia, a keeper of a bookshop in Paris, records of whom appear on various official Parisian documents between 1296 and 1319. Most likely he was an editor of the two previous anonymous treatises, and while he did much to clarify them and transmit them to posterity, he did not write them. Sources writing about Garlandia in the late 13th and early 14th century also call him a magister , indicating he probably had
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