The Ars subtilior (a “more subtle art”)

At the beginning of the fourteenth century, right around 1322, something really remarkable happened in the evolution of musical notation: two mathematically inclined musicians (Johannis de Muris and Phillipe de Vitry) wrote treatises describing a new technique of musical notation, called the ars nova (lit. “new art”) that—for the first time—permitted the accurate notation of most rhythmic patterns. This new technique is the origin of the techniques we now use today, including what are effectively time signatures. The changes were so wide-reaching that they enabled a new practice: composing on paper. It is this change that I will focus on today, and specifically a flourish of complex and erudite compositions that appeared in the last quarter of the century (1375 onwards). The ars subtilior (lit. “more subtle art”) consists of roughly 150 polyphonic compositions that share an interest in extravagant, idiosyncratic notational practices, drawing from but also exceeding the bounds of the ars nova. Here we look at several scores to try to come to terms with the various possibilities that this new notation presented to musicians.

Let’s begin with one of the most famous ars subtilior pieces, a work by Baude Cordier, entitled “Belle bonne sage,” (the title translates to “Beautiful, good, wise”). The score is famously in the shape of a heart, expressing the love that the poem also expresses; indeed, at one point the lyrics state, “within my <3 that presents itself to you,” simultaneously using a 14th-century emoji, and referring to the score (as a gift that can be presented) and the love of the poet/composer/singer. There are also a variety of different kinds of notational device used: see if you can spot coloration (called at the time “chromaticism”, though given the other musical definitions of that term, the use of the original terminology can be a bit confusing), hollow notes, and various time signatures. There are three different voices here, each presented on a separate staff (not, that is in score, though all are visible on the same page). Look for the words “Tenor” and “Contra” (short for contratenor) marking the two lower parts; be aware that since the capital letter of each word is decorated, the words look more like “enor” and “ontra”. There is also a second verse supplied at the base of the heart shape. Each part begins with a rest (or two or three). Much like in our own notation, a minim rest (or half-note rest) sits on a line and fills up half the space, while a semibreve (or whole-note rest) is stronger/longer and hangs from a line, filling up half the space. A breve entirely fills the space between one line and another, while a long fills two spaces. Bearing this in mind, do all the voices come in together? If not, which voice enters first? The piece is a rondeau, which as you should already know :), means that the form is ABaAabAB. Can you see where the music forms the A and B sections? Take a listen to this piece: there are several great recordings on youtube, but this one has the added benefit of showing the modern score which you can compare to the original manuscript as shown above.

Baude Cordier also wrote the famous Tout par compas, which is shaped like a circle. Look at the score here, and listen to a recording on youtube (helpfully providing the score and transcription at the same time!).

Let’s look at one more example, this is Pilippus (or Philipotto) de Caserta’s En remirant (lit. “While admiring.”) This piece is included in the score anthology as number 28, if you want to look at a modern transcription. In the original manuscript we see a veritable cornucopia of rhythmic variety: long passages in red that represent hemiola, hollow red notation that represents a 4:3 cross-rhythm at the level of the minim, the dragma (notes with two stems, one pointing up, one pointing down) that represents 9 notes in the time of 4, and semibreves caudate (having downwards stems rather than the typical upward stem) which represents 9 in the time of 2. There is also a lot of syncopation indicated by dots of division (these are more like barlines than anything else, showing where one group of notes ends and another begins).

As I hope is evident just by looking at these scores, part of the point is in the looking and the figuring out. This is not meant to be easy music, nor is it supposed to be background music. Looking, figuring out, and reveling in the difficulty is completely and totally intentional.