Paper 41
SAMPLES OF THE ITALIAN MULTILAYER IN THE ARS NOVA EPOS
Margarita Yordanova Gencheva
Shumen University „Episkop Konstantin Preslavski“
ОБРАЗЦИ НА ИТАЛИАНСКОТО МНОГОГЛАСИЕ В ЕПОХАТА НА ARS NOVA
Маргарита Йорданова Генчева
Шуменски университет „Епископ Константин Преславски“
Abstract: The decline of feudalism at the beginning of the 14th century gave birth to a new, realis c social
group free of the dogma c norms of the last century.
Turning to a real public power in France, Italy, the Netherlands, free ci zens create their culture and art,
which later have a major impact on the overall development of Western European music.
Ars nova in Italy connects with the centers of musical art – Milan, Padua, Bologna, Verona, Perugia. Crea-
ve enthusiasm boils in brilliant Florence, a swing of the Italian Triche o. Ar sts, musicians, poets, sculptors
and architects laid the founda ons of the Floren ne Qua rocanto. Here, the polyglass occurs much later than
in France – the fi rst two-volume composi ons date back to the early 14th century, the three-le er ones appear
in the middle of the century, and the four-voice ones are almost absent in the age of Ars nova.
By le ng us compare the Italian with the French mul lingualism, we turn our a en on in two direc ons –
the fi rst defi nes the basis on which the Italian mul lingualism occurs – that is, It is of a dis nctly secular nature,
unlike the liturgical basis of the French polygamy. A central place in the composer’s work of the Italian Trichento
occupy the secular genres – Madrigal, Kachia and Ballad.
Keywords: Italian multilayer, Ars nova, Italian Trichento
