Rhythmic mode
From The Art and Popular Culture Encyclopedia
Revision as of 11:45, 27 November 2011
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A lai was a song form composed in northern Europe, mainly France and Germany, from the 13th to the late 14th century.
The poetic form of the lai usually has several stanzas, none of which have the same form. As a result, the accompanying music consists of sections which do not repeat. This distinguishes the lai from other common types of musically important verse of the period (for example, the rondeau and the ballade). Towards the end of its development in the 14th century, some lais repeat stanzas, but usually only in the longer examples. There is one very late example of a lai, written to mourn the defeat of the French at the Battle of Agincourt (1415), (Lay de la guerre, by Pierre de Nesson) but no music for it survives.
There are four lais in the Roman de Fauvel, all of them anonymous. The lai reached its highest level of development as a musical and poetic form in the work of Guillaume de Machaut; 19 separate lais by this 14th-century ars nova composer survive, and they are among his most sophisticated and highly-developed secular compositions.
Other terms for the lai, or for forms which were very similar to the lai, include descort (Provençal), Leich (German), and Lay (English).
Ars nova versus Ars antiqua
Stylistically, the music of the ars nova differed from the preceding era in several ways. Developments in notation allowed notes to be written with greater independence of rhythm, shunning the straitjacket of the rhythmic modes, which prevailed in the thirteenth century; secular music acquired much of the polyphonic sophistication previously found only in sacred music; and new techniques and forms, such as isorhythm and the isorhythmic motet, became prevalent. The overall aesthetic effect of these changes was to create music of greater expressiveness and variety than had been the case in the thirteenth century. Indeed the sudden historical change which occurred, with its startling new degree of musical expressiveness, can be likened to the introduction of perspective in painting, and it is useful to consider that the changes to the musical art in the period of the ars nova were contemporary with the great early Renaissance revolutions in painting and literature.
The greatest practitioner of the new musical style was undoubtedly Guillaume de Machaut, who also had an equally distinguished career as a canon at Reims Cathedral and as a poet. The ars nova style is nowhere more perfectly displayed than in his considerable body of motets, lais, virelais, rondeaux, and ballades.
Towards the end of the fourteenth century a new stylistic school of composers and poets centered on Avignon in southern France developed; the highly mannered style of this period is often called the ars subtilior, though some scholars choose to consider it a late development of the ars nova rather than breaking it out as a separate school. This strange but interesting repertory of music, limited in geographical distribution (southern France, Aragon and later Cyprus), and clearly intended for performance by specialists for an audience of connoisseurs, is like an endnote to the entire Middle Ages.
