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30 Oct

srii, Ujoliic© Hohn 0t Bohml B..^ wisos© n^m^ imd pe^^utatio B Kaolismt cosi'.tli'i'M-s to e?

tesohes erfsryone, rio iaatttr -wiio li€ is, so n&isj i^ood traits of c Mr&oter***^ And the laefiiaeval idea of rausic, inherited fra&i Flatosio amd l-ytliagoremn tradl* tio Tij is jalso intiaatalj- coimseted witii morality* "Uusi CR vero non laodo epeculationi Teri Jis ®tiam inorali« t Bte oonjuneta sit,""^ ?

fee jojomss for a heart tall of sadii«s® eaanot sissg.

S responsible for this shift* ^e Ars nova JEOvcrient of the early fourteenth century, with Pliilippe de Vitry as ita chief representative, had cej;itered around the isorhytmalc notet.

G dream of past perfection emiobiea life and its forme, fills th«i with beauty and fasliions th6Ki anew as fonas of art.

g^silj', iliia Idsa reofelve® strong efmii&sis la tli© ^pl ^^xi^^ Mash® -at develops it for soae Tif'ty lines* "4^6 ii trlstas otter® mi% al^uas falre t;^!

il, Tbe ^Bcoiide H:hltoriou0 also [email protected] use of the VWiifcf Cu Iar T 2 Ibid,, p, 1x1.

Machaut, in his ^irly years, vms content for a v Ml© to follov.- the model of ¥itry» Later, in his ballades and rondetiusc, deacendants of thirteent Ji ceiitiiry dance son RS, but completely reinterpreted rausioally by Machaut, and nad© the vehicles of a radically neiv style, he gave tli© history of fourteenth century lausio a different direction.

, IIl^ 236 2 ^-ediaev^l i=£^tiia prose, wiiieh eaploys tilts riiytter JL- cally pett®rn©d ourstty S, ooaia &l-m be iuclud©iillo#csphers of the echaoi of v Mrtrss l^aturo, a B a ertative feifce, plays ts laes^wslngly irax X5rt£.