Ars Antiqua

The term "ars antiqua" was used by writers of the early 14th century to distinguish the late 13th-century school from that of their own day, which was called "ars nova." Today, both terms are usually employed in a wider sense, denoting music of the 13th and 14th centuries respectively.

The ars antiqua includes the school of Notre Dame with its two masters, Leonin and Perotin, and the ensuing period which may be divided into the period of Franco (early 13th cent.) and that of Petrus de Cruce (late 13th cent.). The school of Notre Dame was preceded by the school of St. Martial.

The 13th-century technique of composition may be described as "successive counterpoint." The composer starts out with one complete voice, the tenor, which is either a preexistent plainsong melody (this is the case with organa, clausulae, and practically all motets) or one written by the composer himself (this is the case with conductus). The this fundamental part the others are added successively, first the "duplum" (called "motetus" in a motet), then the "triplum".

The most important contribution of the ars antiqua lies in the field of rhythm. While the organa of the school of St. Marital employ for their upper part melismas in free, unmeasured rhythm, the period around 1180 marks the establishment of strict rhythm, based on the rhythmic modes.