Émergence de la notion de nouveauté en musique : l’ Ars nova en question

Abstract : The theoretical corpus attributed to Philippe de Vitry was often seen as the spearhead of an assumed musical modernity. However the state of the manuscript tradition and the lack of reference to this text in the later treatises recall how cautious we must be about the infl uence of this text. While practices are changing at the turn of the 13 th and 14 th century, it is probably excessive to interpret them as so radically opposed as musicologists have done by naming them ars antiqua and ars nova. Th e understanding of novelty is more fi nely shaded than we wanted to believe. Th e case of the ars nova is an opportunity to raise the issue of novelty and modernity in the Middle Ages, in order to identify the part of the historiographical fantasy on reading objects from the past. A more objective study of these well known sources and of their vocabulary shows indeed a confusing situation in the world of notators of music, but far from the atmosphere of aesthetic revolution that was too often pointed at. Vetera transierunt : ecce facta sunt nova 1 .
Mots-clés : ars nova musique
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Contributor : Anne-Zoé Rillon-Marne <>
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Anne-Zoé Rillon-Marne. Émergence de la notion de nouveauté en musique : l’ Ars nova en question . Question de style http://www.unicaen.fr/services/puc/revues/thl/questionsdestyle/, PUC, 2011, La Question de la nouveauté. ⟨halshs-01476800⟩

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