# Ars subtilior

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Musical style of the late middle ages

A chanson about love, *Belle, bonne, sage*, by [Baude Cordier](/source/Baude_Cordier), is in a heart shape, with red notes indicating rhythmic [alterations](#Notational_characteristics).

Part of a series on Medieval music Overview Composers / Instruments / Theory (Theorists) Movements and schools Saint Gall Saint Martial Goliard Ars antiqua Notre-Dame school Troubadour Trouvère Minnesang Ars nova Trecento Ars subtilior Major figures Notker Guido Hildegard Bernart Walther Pérotin Adam de la Halle Franco Vitry Machaut Landini Ciconia Dunstaple Major forms Canso Conductus Formes fixes Ballade Rondeau Virelai Geisslerlied Gregorian chant Lai Lauda Liturgical drama Madrigal Motet Organum Planctus Renaissance music → v t e

***Ars subtilior*** ([Latin](/source/Latin) for 'subtler art') is a [musical style](/source/Musical_style) characterized by [rhythmic](/source/Rhythm) and [notational](/source/Musical_notation) complexity, centered on Paris, [Avignon](/source/Avignon) in [southern France](/source/Southern_France), and also in northern Spain at the end of the fourteenth century.[1] The style also is found in the [French Cypriot](/source/Kingdom_of_Cyprus) repertory. Often the term is used in contrast with [ars nova](/source/Ars_nova), which applies to the musical style of the preceding period from about 1310 to about 1370; though some scholars prefer to consider *ars subtilior* a subcategory of the earlier style. Primary sources for *ars subtilior* are the [Chantilly Codex](/source/Chantilly_Codex), the [Modena Codex](/source/Modena_Codex) (Mod A M 5.24), and the Turin Manuscript (Torino J.II.9).

## Overview and history

Musically, the productions of the *ars subtilior* are highly refined, complex, and difficult to sing, and probably were produced, sung, and enjoyed by a small audience of specialists and connoisseurs. Musicologist [Richard Hoppin](/source/Richard_Hoppin) suggests the superlative *ars subtilissima*, saying, "not until the twentieth century did music again reach the most subtle refinements and rhythmic complexities of the [manneristic](/source/Mannerism#Mannerism_in_literature_and_music) style."[1] They are almost exclusively [secular songs](/source/Secular_music), and have as their subject matter love, war, chivalry, and stories from classical antiquity. There are even some songs written in praise of public figures (for example [Antipope Clement VII](/source/Antipope_Clement_VII)). Daniel Albright[2] compares [avant-garde](/source/Avant-garde) and [modernist music](/source/Modernist_music) of the [20th century](/source/20th-century_classical_music)'s "emphasis on generating music through technical experiment" to the precedent set by the *ars subtilior* movement's "autonomous delight in extending the kingdom of sound." He cites Baude Cordier's [perpetual canon](/source/Perpetual_canon) *Tout par compas* (All by compass am I composed), notated on a circular staff.

Albright contrasts this motivation with "expressive urgency" and "obedience to rules of craft" and, indeed, "*ars subtilior*" was coined by musicologist [Ursula Günther](/source/Ursula_G%C3%BCnther) in 1960 to avoid the negative connotations of the terms *manneristic style* and *mannered notation*.[3][*[failed verification](https://en.wikipedia.org/wiki/Wikipedia:Verifiability)*] (Günther's coinage was based on references in *Tractatus de diversis figuris*, attributed to [Philippus de Caserta](/source/Philippus_de_Caserta), to composers moving to a style "post modum subtiliorem comparantes" and developing an "artem magis subtiliter".)[4][*[failed verification](https://en.wikipedia.org/wiki/Wikipedia:Verifiability)*]

One of the centers of activity of the style was Avignon at the end of their [Papacy](/source/Avignon_Papacy) and during the subsequent [Great Schism](/source/Western_Schism) (1378–1417), the time during which the Western Church had a pope both in Rome and in Avignon. Avignon had developed into an active cultural center, and produced a significant surviving body of secular song in the late fourteenth century.[5] The style spread into, or was simultaneously developed in northern Spain, Italy (especially [Pavia](/source/Pavia))[6] and as far east as Cyprus (which was a French cultural outpost at the time).[7] French, Flemish, Spanish and Italian composers used the style.

## Notational characteristics

Manuscripts of works in the *ars subtilior* occasionally were themselves in unusual and expressive shapes, as a form of [eye music](/source/Eye_music). As well as [Baude Cordier](/source/Baude_Cordier)'s circular canon and the heart-shaped score shown above, [Jacob Senleches](/source/Jacob_Senleches)'s *[La Harpe de melodie](/source/La_Harpe_de_melodie)* is written in the shape of a harp.

## List of composers

The main composers of the *ars subtilior* (those from whom at least three compositions in this style are known) are [Anthonello de Caserta](/source/Anthonello_de_Caserta), [Johannes Cuvelier](/source/Johannes_Cuvelier), [Egidius](/source/Egidius_(Chantilly_Codex_composer)), Galiot, [Matteo da Perugia](/source/Matteo_da_Perugia), [Philipoctus de Caserta](/source/Philippus_de_Caserta), [Jacob Senleches](/source/Jacob_Senleches), and [Trebor](/source/Trebor_(composer)).[8] Other composers associated with the style include:

- [Johannes Ciconia](/source/Johannes_Ciconia), *Sus un fontayne*

- [Baude Cordier](/source/Baude_Cordier), *Tout par compas* (Rondeau-canon) and *Belle bonne sage*

- [Martinus Fabri](/source/Martinus_Fabri)

- [Paolo da Firenze](/source/Paolo_da_Firenze)

- Guido de Lange, *Dieux gart* (Rondeau)

- [Johannes Symonis Hasprois](/source/Johannes_Symonis_Hasprois)

- [Matheus de Sancto Johanne](/source/Matheus_de_Sancto_Johanne)

- [Solage](/source/Solage), *Fumeux fume par fumée* (Rondeau)[9][*[failed verification](https://en.wikipedia.org/wiki/Wikipedia:Verifiability)*][10][*[failed verification](https://en.wikipedia.org/wiki/Wikipedia:Verifiability)*]

- [Antonio Zacara da Teramo](/source/Zacara_da_Teramo), *Sumite karissime*

- Anonymous composers at the [Nicosia](/source/Nicosia) court of King [Janus of Cyprus](/source/Janus_of_Cyprus)

## Examples

- [Senleches: *Fuions de ci*](https://upload.wikimedia.org/wikipedia/commons/transcoded/3/33/SENLECHES_Fuions_de_ci.mid/SENLECHES_Fuions_de_ci.mid.mp3)[ⓘ](https://en.wikipedia.org/wiki/File:SENLECHES_Fuions_de_ci.mid)

- [Solage: *Fumeux fume par fumee*](https://upload.wikimedia.org/wikipedia/commons/transcoded/a/a1/SOLAGE_Fumeux_fume_par_fumee.mid/SOLAGE_Fumeux_fume_par_fumee.mid.mp3)[ⓘ](https://en.wikipedia.org/wiki/File:SOLAGE_Fumeux_fume_par_fumee.mid)

## References

1. ^ [***a***](#cite_ref-Hoppin_1-0) [***b***](#cite_ref-Hoppin_1-1) Hoppin 1978, 472–73.

1. **[^](#cite_ref-Albright_2-0)** Albright 2004, 10.

1. **[^](#cite_ref-3)** Günther 1960.

1. **[^](#cite_ref-4)** Günther 1960, summarized in Josephson 2001.

1. **[^](#cite_ref-5)** Burkholder, J. Peter (2006). *Concise History of Western Music* (3rd ed.). United States: W. W. Norton and Company. [ISBN](/source/ISBN_(identifier)) [978-0393928952](https://en.wikipedia.org/wiki/Special:BookSources/978-0393928952).

1. **[^](#cite_ref-6)** Stone, Anne (1996). "Che cosa c'è di più sottile riguardo l'*ars subtilior*?". *[Rivista Italiana di Musicologia](https://en.wikipedia.org/w/index.php?title=Rivista_Italiana_di_Musicologia&action=edit&redlink=1)*. **31**: 3–31.

1. **[^](#cite_ref-7)** Josephson 2001.

1. **[^](#cite_ref-8)** Apel 1973, 55.

1. **[^](#cite_ref-9)** ["Ars Magis Subtiliter"](http://www.medieval.org/emfaq/cds/na021.htm). *www.medieval.org*.

1. **[^](#cite_ref-10)** ["Fumeux fume par fumee (Solage) - ChoralWiki"](http://www0.cpdl.org/wiki/index.php/Fumeux_fume_par_fumee_(Solage)). *www0.cpdl.org*.

## Sources

- Albright, Daniel. 2004. *Modernism and Music: An Anthology of Sources*. University of Chicago Press. [ISBN](/source/ISBN_(identifier)) [0-226-01267-0](https://en.wikipedia.org/wiki/Special:BookSources/0-226-01267-0).

- Apel, Willi. 1973. "The Development of French Secular Music During the Fourteenth Century". *[Musica Disciplina](/source/American_Institute_of_Musicology#Musica_Disciplina)* 27:41–59.

- Günther, Ursula. 1960. "Die Anwendung der Diminution in der Handschrift Chantilly 1047". *[Archiv für Musikwissenschaft](/source/Archiv_f%C3%BCr_Musikwissenschaft)* 17:1–21.

- Hoppin, Richard H. 1978. *Medieval Music*. New York, W.W. Norton & Co., 1978. [ISBN](/source/ISBN_(identifier)) [0-393-09090-6](https://en.wikipedia.org/wiki/Special:BookSources/0-393-09090-6).

- Josephson, Nors S. 2001. "Ars Subtilior". *The New Grove Dictionary of Music and Musicians*, second edition, edited by [Stanley Sadie](/source/Stanley_Sadie) and [John Tyrrell](/source/John_Tyrrell_(professor_of_music)). London: Macmillan Publishers.

## Further reading

- Apel, Willi. 1950. "French Secular Music of the Late Fourteenth Century". *Mediaeval Academy of America*.[*[full citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citing_sources#What_information_to_include)*] [text online](https://pdf.lu/Z1Ue/)

- [Arlt, Wulf](https://de.wikipedia.org/wiki/Wulf_Arlt) [in German] (1973). "The Development of French Secular Music during the Fourteenth Century". *[Musica Disciplina](/source/American_Institute_of_Musicology#Musica_Disciplina)*. **27**: 41–59. [JSTOR](/source/JSTOR_(identifier)) [20532157](https://www.jstor.org/stable/20532157).

- Berger, Anna Maria Busse. 2002. "The Evolution of Rhythmic Notation". In *The Cambridge History of Western Music Theory*, edited by Thomas Street Christensen, 628–56. The Cambridge History of Music. Cambridge: Cambridge University Press. [ISBN](/source/ISBN_(identifier)) [0-521-62371-5](https://en.wikipedia.org/wiki/Special:BookSources/0-521-62371-5)

- Fallows, David. "Ars nova" in *The New Grove Dictionary of Music and Musicians*, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. [ISBN](/source/ISBN_(identifier)) [1-56159-174-2](https://en.wikipedia.org/wiki/Special:BookSources/1-56159-174-2).

- Gleason, Harold, and Warren Becker, *Music in the Middle Ages and Renaissance* Music Literature Outlines Series I. Bloomington, Indiana. Frangipani Press, 1986. [ISBN](/source/ISBN_(identifier)) [0-89917-034-X](https://en.wikipedia.org/wiki/Special:BookSources/0-89917-034-X).

- Günther, Ursula. 1963. "Das Ende der Ars Nova". *[Die Musikforschung](/source/Die_Musikforschung)* 16:105–120.

- Günther, Ursula. 1964. "Zur Biographie einiger Komponisten der Ars Subtilior". *Archiv für Musikwissenschaft* 21:172–99.

- Günther, Ursula. 1965. *[The Motets of the Manuscripts Chantilly, Musée condé, 564 (olim 1047) and Modena, Biblioteca estense, a. M. 5, 24 (olim lat. 568)](https://web.archive.org/web/20120212032509/http://www.corpusmusicae.com/cmm/cmm_cc039.htm)*. Corpus Mensurabilis Musicae 39. Neuhausen: [American Institute of Musicology](/source/American_Institute_of_Musicology). Unaltered reprint, 1998.

- Günther, Ursula. 1991. "Die Ars subtilior". Hamburger Jahrbuch für Musikwissenschaft 11: 277–88.

- Hentschel, Frank. 2001. "Der Streit um die Ars Nova: Nur ein Scherz?" *Archiv für Musikwissenschaft* 58:110–30.

- Hoppin, Richard H. 1960–1963. *[Cypriot-French Repertory (15th c.) of the Manuscript Torino, Biblioteca Nazionale, J.II.9](https://web.archive.org/web/20120212032556/http://www.corpusmusicae.com/cmm/cmm_cc021.htm)*, 4 vols. Corpus Mensurabilis Musicae 21. Rome : [American Institute of Musicology](/source/American_Institute_of_Musicology).

- Hoppin, Richard H. 1968. *[Cypriot Plainchant of the Manuscript Torino, Biblioteca Nazionale J. II. 9](https://web.archive.org/web/20120722155401/http://www.corpusmusicae.com/msd.htm)*, facsimile edition with commentary. Musicological Studies and Documents 19. Rome: [American Institute of Musicology](/source/American_Institute_of_Musicology). [ISBN](/source/ISBN_(identifier)) [978-1-59551-256-7](https://en.wikipedia.org/wiki/Special:BookSources/978-1-59551-256-7).

- Josephson, Nora S. "Ars subtilior" in *The New Grove Dictionary of Music and Musicians*, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. [ISBN](/source/ISBN_(identifier)) [1-56159-174-2](https://en.wikipedia.org/wiki/Special:BookSources/1-56159-174-2).

- Josephson, Nora S. (2003–2008). "Many Roads Lead to Rome: Multifarious Stylistic Tendencies and Their Musical Interrelationships within the "Ars Subtilior"". *[Musica Disciplina](/source/American_Institute_of_Musicology#Musica_Disciplina)*. **53**: 71–97. [JSTOR](/source/JSTOR_(identifier)) [30249358](https://www.jstor.org/stable/30249358).

- Köhler, Laurie. 1990. *Pythagoreisch-platonische Proportionen in Werken der ars nova und ars subtilior*. 2 vols. Göttinger musikwissenschaftliche Arbeiten 12. Kassel and New York: Bärenreiter. [ISBN](/source/ISBN_(identifier)) [3-7618-1014-8](https://en.wikipedia.org/wiki/Special:BookSources/3-7618-1014-8)

- Leech-Wilkinson, Daniel. 1990. "Ars Antiqua—Ars Nova—Ars Subtilior". In *Antiquity and the Middle Ages: From Ancient Greece to the Fifteenth Century*, edited by James McKinnon, 218–40. Man & Music. London: Macmillan. [ISBN](/source/ISBN_(identifier)) [0-333-51040-2](https://en.wikipedia.org/wiki/Special:BookSources/0-333-51040-2) (cased) [ISBN](/source/ISBN_(identifier)) [0-333-53004-7](https://en.wikipedia.org/wiki/Special:BookSources/0-333-53004-7) (pbk)

- Newes, Virginia Ervin. 1977. "Imitation in the Ars Nova and Ars Subtilior". *Revue belge de musicologie/Belgisch tijdschrift voor muziekwetenschap.* 31:38–59.

- [Pirrotta, Nino](/source/Nino_Pirrotta). 1966. "Ars Nova e stil novo". *Rivista Italiana di Musicologia* 1:3–19

- Plumley, Yolanda M. 1991. "Style and Structure in the Late 14th-Century Chanson". Ph.D. diss., University of Exeter.

- Plumley, Yolanda M. 1996. *The Grammar of Fourteenth Century Melody: Tonal Organization and Compositional Process in the Chansons of Guillaume de Machaut and the Ars Subtilior*. Outstanding Dissertations in Music from British Universities. New York: Garland. [ISBN](/source/ISBN_(identifier)) [0-8153-2065-5](https://en.wikipedia.org/wiki/Special:BookSources/0-8153-2065-5)

- Plumley, Yolanda M. 1999. "Citation and Allusion in the Late Ars Nova: The Case of 'Esperance' and the 'En attendant' songs". *Early Music History* 18:287–363.

- Plumley, Yolanda, and Anne Stone. 2008. *Codex Chantilly: Bibliothèque du Château de Chantilly Ms. 564* facsimile edition with commentary. Turnhout, Belgium: Brepols (distributed by [Old Manuscripts & Incunabula](http://www.omifacsimiles.com/brochures/chantilly.html)). [ISBN](/source/ISBN_(identifier)) [978-2-503-52776-5](https://en.wikipedia.org/wiki/Special:BookSources/978-2-503-52776-5).

- Smith, F. Joseph. 1964. "Ars Nova: A Re-Definition? (Observations in the Light of Speculum Musicae I by Jacques de Liège" Part 1. *[Musica Disciplina](/source/American_Institute_of_Musicology#Musica_Disciplina)* 18:19–35.

- Smith, F. Joseph. 1965. "Ars Nova: A Re-Definition?" Part 2. *[Musica Disciplina](/source/American_Institute_of_Musicology#Musica_Disciplina)* 19:83–97.

- Smith, F. Joseph. 1983. "Jacques de Liège's Criticism of the Notational Innovations of the Ars nova". *The Journal of Musicological Research* 4: 267–313

- Stone, Anne. 1996. "Che cosa c'è di più sottile riguardo l'ars subtilior?" *Rivista Italiana di Musicologia* 31:3–31.

- Tanay, Dorit. 1999. *Noting Music, Making Culture: The Intellectual Context of Rhythmic Notation, 1250–1400*. Musicological Studies and Documents 46. Holzgerlingen: [American Institute of Musicology](/source/American_Institute_of_Musicology) and Hänssler-Verlag. [ISBN](/source/ISBN_(identifier)) [3-7751-3195-7](https://en.wikipedia.org/wiki/Special:BookSources/3-7751-3195-7)

v t e Ars subtilior Composers Borlet Philippus de Caserta Johannes Ciconia* Conradus de Pistoria Baude Cordier Johannes Cuvelier Egardus Egidius Martinus Fabri Petrus de Goscalch Johannes Symonis Hasprois Matheus de Sancto Johanne Gacian Reyneau Rodericus Jacob Senleches Solage Johannes Susay Antonio Zacara da Teramo Trebor Sources Chantilly Codex Modena Codex See also Music of the Trecento (Italian ars nova) Medieval music Early music ← Ars nova Renaissance music → Also music theorist* Category

v t e Medieval music List of composers List of music theorists List of musical instruments Early (before 1150) Abbey of Saint Gall Notker the Stammerer Tuotilo Stephen of Liège Hucbald* Odo of Cluny* Fulbert of Chartres Heriger of Lobbes Saint Martial school Adémar de Chabannes Odo of Arezzo* Notker Physicus St. Godric Peter Abelard Hildegard of Bingen Adam of Saint Victor Wulfstan the Cantor? Wipo of Burgundy? High (1150–1300) Ars antiqua Notre-Dame school Albertus Parisiensis Léonin Pérotin Philippe le Chancelier Petrus de Cruce* Troubadour & Trobairitz* Aimeric de Peguilhan Arnaut Daniel Arnaut de Mareuil Bernart de Ventadorn Bertran de Born Castelloza Cerverí de Girona Comtessa de Dia* Folquet de Marselha Gaucelm Faidit Giraut de Bornelh Guiraut Riquier Jaufre Rudel Marcabru Peire d'Alvernha Peire Cardenal Peire Vidal Peirol Perdigon Raimbaut d'Aurenga Raimbaut de Vaqueiras Raimon de Miravalh Sordello William IX, Duke of Aquitaine Other troubadours and trobairitz... Trouvère Adam de la Halle Andrieu Contredit d'Arras Audefroi le Bastart Blondel de Nesle Le Chastelain de Couci Chrétien de Troyes Colin Muset Conon de Béthune Gace Brulé Gautier de Coincy Gautier de Dargies Gautier d'Espinal Gillebert de Berneville Gontier de Soignies Guillaume le Vinier Guiot de Dijon Jehan Bretel Jehan Erart Jehan le Cuvelier d'Arras Moniot d'Arras Perrin d'Angicourt Philippe de Rémi Raoul de Soissons Other trouvères... Casella Goliards Minnesang Galician-Portuguese lyric List of Galician-Portuguese troubadours Late (1300–1400) Ars nova F. Andrieu Denis Le Grant Magister Franciscus Grimace Jehan de Lescurel Guillaume de Machaut P. des Molins Jehan Vaillant Philippe de Vitry* Trecento Predecessors Marchetto da Padova 1st generation Giovanni da Cascia Jacopo da Bologna Maestro Piero Vincenzo da Rimini 2nd generation Andreas de Florentia Donato da Cascia Francesco Landini Gherardello da Firenze Lorenzo da Firenze* Paolo da Firenze 3rd generation Bartolino da Padova Antonello da Caserta Johannes Ciconia* Matteo da Perugia Giovanni Mazzuoli Grazioso da Padova Niccolò da Perugia Philippus de Caserta Sant Omer Zacara da Teramo Ars subtilior Borlet Philippus de Caserta Johannes Ciconia* Conradus de Pistoria Baude Cordier Johannes Cuvelier Egardus Egidius Martinus Fabri Petrus de Goscalch Johannes Symonis Hasprois Matheus de Sancto Johanne Gacian Reyneau Rodericus Jacob Senleches Solage Johannes Susay Antonio Zacara da Teramo Trebor Others Johannes Alanus John Dunstaple Contenance angloise Thomas Fabri Roy Henry Arnold de Lantins Leonel Power W. de Wycombe Theorists Anonymous IV Guido of Arezzo Franco of Cologne Johannes Cotto Johannes de Garlandia Johannes de Grocheio Iacobus de Ispania Notker Labeo Johannes de Muris Walter Odington Berno of Reichenau Aurelian of Réôme Musical forms Antiphon Canso Carol Chanson Chansonnier Chant Conductus Estampie Formes fixes Ballade Rondeau Virelai Geisslerlied Gregorian chant Pope Gregory I Lai Tydorel Liturgical drama Madrigal Motet Organum Planctus Musical notation neume mensural notation Traditions British Isles England Scotland Cyprus France Germany Italy Lithuania Portugal Spain Derivations Bardcore Medieval folk rock Medieval metal Neo-Medieval music Background Early music Middle Ages Art Architecture Poetry Literature Philosophy Also music theorist* Renaissance music → Category Portal

v t e Avant-garde movements Visual art Abstract expressionism Art Nouveau Art & Language Conceptual art Constructivism Proto-Cubism Cubism Functionalism Bauhaus Grosvenor School Devětsil Divisionism Fauvism Impressionism Neo-Impressionism Post-Impressionism Color Field Incoherents Lyrical Abstraction Mail art Minimalism Mir iskusstva Multidimensional art Neoplasticism De Stijl Neue Slowenische Kunst Nonconformism Nouveau réalisme Orphism Performance art Pop art Process art Purism Rayonism Suprematism Temporary art Vorticism Literature and poetry Acmeism Angry Penguins Asemic writing Conceptual poetry Cyberpunk Ego-Futurism Experimental literature Flarf poetry Hungry generation Imaginism Imagism Language poets Neoavanguardia Neoteric Nouveau roman Oberiu Oulipo Slam poetry Ultraísmo Visual poetry Young Vienna Zaum Music By style Funk Jazz Free funk Yass Pop Rock Prog Punk Metal Others Aleatoric music Ars nova Ars subtilior Atonal music Electroacoustic music Electronic music Industrial music Experimental pop Free jazz Free improvisation Futurism Microtonal music Minimal music Drone music Music theatre Musique concrète New Complexity No wave Noise music Post-rock Rock in Opposition Second Viennese School Serialism Spectral music Stochastic music Textural music Totalism Twelve-tone technique Cinema and theatre Cinéma pur Dogme 95 Drop Art Epic theatre Experimental film Experimental theatre Modernist film Poetic realism Postdramatic theatre Remodernist film Structural film Theatre of the Absurd Theatre of Cruelty General Constructivism Dada Expressionism Fluxus Futurism Russian Futurism Cubo-Futurism Lettrism Modernism Minimalism Postminimalism Neo-minimalism Neo-Dada Neoism Postmodernism Postmodernist film Late modernism Primitivism Situationist International Social realism Socialist realism Surrealism Symbolism Russian symbolism

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