Looking Back over the 'Missa L'Ardant desir': Double Signatures and Unusual Signs in Sources of Fifteenth-Century Music

Abstract

BY JASON STOESSEL* IN AN ARTICLE WITTILY ENTITLED 'The End of the Ars Subtilior' David Fallows observes that music theorists continue to discuss, and composers occasionally use, notational and stylistic elements associated with the ars subtilior over the course of the fifteenth century. 1 While it is agreed that the years roughly between 1380 and 1415 witness the apogee of the so-called ars subtilior style on either side of the Alps, Fallows argues for the existence of continuities in musical and notational practices, offering up a foil to any attempt to periodize this style. For music historians, this situation is not surprising in the light of later musical parallels like, for example, the final flowering of the North

Education Materialised

“…Cf. Stoessel 2010, 325. Stoessel (2010 has already remarked upon the fact that the transmissions of Suzoy's ballade in Chantilly, Musée Condé, 564 and Paris, Bibliothèque nationale de France, nouvelles acquisitions françaises 22069 contain written instructions underneath the music instead of ◡.…”