Ars nova, which means "new art" in Latin, is a musical style that was popular in the Kingdom of France and nearby areas during the Late Middle Ages. It refers mainly to the time between the creation of the Roman de Fauvel in the 1310s and the death of composer Guillaume de Machaut in 1377. Sometimes, the term is used more broadly to describe all European polyphonic music from the 14th century. For example, "Italian ars nova" may refer to the music of Francesco Landini and his contemporaries, though "Trecento" is a more common term for 14th-century Italian music. The word "ars" in "ars nova" can mean "technique" or "style." The term first appeared in two musical writings: Ars novae musicae (New Technique of Music) by Johannes de Muris around 1320 and a collection of writings attributed to Philippe de Vitry around 1322, often called Ars nova today. In 1904, music expert Johannes Wolf began using the term to describe an entire era, not just specific people.

The term "ars nova" is often compared to "ars antiqua," which refers to the music of the previous period, usually including the time of Notre Dame polyphony (about 1170 to 1320). Generally, "ars antiqua" describes 13th-century music, while "ars nova" describes 14th-century music. Many music histories use these terms in this general way.

The time after Machaut’s death in 1377, up to the early 15th century, including the rhythmic changes in the ars subtilior, is sometimes seen as the end or late stage of ars nova. However, it is also considered a separate era in music. Other musical periods and styles have been called "new art" at times. Johannes Tinctoris used the term to describe Dunstaple, but today, the term is only used for the period described above.

Versusars antiqua

The music of the ars nova style was different from earlier music in several ways. Improvements in musical notation let composers write notes with more rhythmic freedom, moving away from the strict rhythmic patterns used in the 13th century. Secular music, which was not religious, began to use complex harmonies that had previously only been found in sacred music. New techniques, such as isorhythm (a method where rhythm and melody follow specific patterns) and the isorhythmic motet (a type of musical piece), became common. These changes made music more expressive and varied than before. The sudden shift in musical style was as significant as the introduction of perspective in painting, and it happened at the same time as major changes in painting and literature during the early Renaissance.

Guillaume de Machaut was the most well-known composer of the ars nova style. He was also a respected canon at Reims Cathedral and a poet. His work includes many motets, lais, virelais, rondeaux, and ballades, which show the features of the ars nova style.

By the end of the 14th century, a new group of composers and poets in Avignon, southern France, developed a style known as the ars subtilior. Some scholars call this a later stage of the ars nova rather than a separate school. This style, which was limited to southern France, Aragon, and later Cyprus, was created for experts to perform for audiences who deeply appreciated music. It serves as a final example of musical styles from the Middle Ages.

Discography

• Chants du XIV siècle. Performed by Mora Vocis Ensemble. Published by Mandala, France, 1999. CD recording number MAN 4946.
• Denkmäler alter Musik aus dem Codex Reina (14./15. Jh.). Performed by Syntagma Musicum, directed by Kees Otten. Published by Das Alte Werk, location not specified, 1979. LP recording number 6.42357.
• Domna. Performed by Esther Lamandier, voice, harp, and portative organ. Published by Alienor, Paris, 1987. CD recording number AL 1019.
• La fontaine amoureuse: Poetry and Music of Guillaume de Machaut. Performed by Music for a While, with Tom Klunis as narrator. Published by 1750 Arch Records, Berkeley, 1977. LP recording number 1773.
• Guillaume de Machaut. Je, Guillaumes Dessus Nommez. Performed by Ensemble Gilles Binchois, directed by Dominique Vellard. Published by Cantus, location not specified, 2003. CD recording number 9804.
• Guillaume de Machaut. La Messe de Nostre Dame und Motetten. Performed by James Bowman and Tom Sutcliffe, countertenors; Capella Antiqua München, directed by Konrad Ruhland. Published by Das Alte Werk, Hamburg, Telefunken, 1970. LP recording number 6.41125 AS.
• Guillaume de Machaut. La messe de Nostre Dame; Le voir dit. Performed by Oxford Camerata, directed by Jeremy Summerly. Published by Naxos, Hong Kong, 2004. CD recording number 8553833.
• Guillaume de Machaut. Messe de Notre Dame. Performed by Ensemble Organum, directed by Marcel Pérès. Published by Harmonia Mundi, Arles, 1997. CD recording number 901590.
• Guillaume de Machaut. Messe de Notre Dame; Le lai de la fonteinne; Ma fin est mon commencement. Performed by Hilliard Ensemble, directed by Paul Hillier. Published by Hyperion, London, 1989.
• Guillaume de Machaut. Motets. Performed by Hilliard Ensemble. Published by ECM Records, Munich, 2004.
• Philippe De Vitry and the Ars Nova—Motets. Performed by Orlando Consort. Published by Amon Ra, Wotton-Under-Edge, Glos., England, 1990. CD recording number CD-SAR 49.
• Philippe de Vitry. Motets & Chansons. Performed by Sequentia, directed by Benjamin Bagby and Barbara Thornton. Published by Deutsche Harmonia Mundi, Freiburg, 1991. CD recording number 77095-2-RC.
• Roman de Fauvel. Performed by Jean Bollery (speaker), Studio der Frühen Musik, directed by Thomas Binkley. Published by Reflexe: Stationen europäischer Musik, Cologne, EMI, 1972. LP recording number 1C 063-30 103.
• Le roman de Fauvel. Performed by Anne Azéma (soprano, narration), Dominique Visse (countertenor, narration), Boston Camerata and Ensemble Project Ars Nova, directed by Joel Cohen. Published by Erato, France, 1995. CD recording number 4509-96392-2.
• The Service of Venus and Mars: Music for the Knights of the Garter, 1340–1440. Performed by Gothic Voices, directed by Christopher Page. Published by Hyperion, London, 1987. CD recording number CDA 66238.
• The Spirit of England and France I: Music of the Late Middle Ages for Court and Church. Performed by Gothic Voices, directed by Christopher Page. Published by Hyperion Records, London, 1994. CD recording number CDA66739.
• The Study of Love: French Songs and Motets of the 14th Century. Performed by Gothic Voices, directed by Christopher Page. Published by Hyperion Records, London, 1992. CD recording number CDA66619.