Aristoxenus, 799
Arnaut, Daniel, 110 , 116 , 352 , 352
Arnt von Aich (Arnt of Aachen), 691 –92
Arras, 120
Arras Puy, 121
Ars Antiqua. See classicism
Ars cantus mensurabilis (Franco of Cologne), 215
ars combinatoria, motet as, 226
Ars musicae (Grocheio), 207
Ars Nova, 247 –87
bottom-up techniques of, 291
conservative backlash to, 254 –55
discordia concors belief and, 255 , 261
distinguishing notational principles of, 258 , 260 –61
final phase of, 337
Machaut and, 270 –73, 291 , 295 , 325 , 326
notational representation and, 252 –55, 260 , 355
notational theory of, 248 –50
patterning and, 261 –66, 262
practice implications of, 250 –52
spread of, 346 , 348 –50
trobar clus and, 326Ars novae musicae (Jehan des Murs), 247 –48
Ars nova (Vitry), 248 , 258 , 273 , 337
ars perfecta, 585 –628
art of transition and, 600
Byrd and, 630 , 678 , 684 , 686 –87
challenges to, 687 , 689 , 721 , 722 , 725 , 775 , 780 , 782 , 783 –84, 786 , 797 , 800 , 831
concerto vs., 783 –84
Counter Reformation musical departure from, 771 , 775 , 780 , 782 , 783 –84, 786
distortion vs., 629 –30
as ecumenical, 629 , 630 , 631 , 642 , 644 –45, 646 , 667 , 684 , 713 , 722 , 724 , 771
English liturgical music contrasted with, 612 –14
Galilei’s view of, 800
Gregorian chant and, 631
harmony and, 588 , 816
instrumental music and, 606 , 617 –28