Matteo da Perugia

Ars subtilior is a late–14th‑century style of Franco‑Flemish and southern French/Iberian court music noted for its extreme rhythmic, notational, and contrapuntal sophistication. It refines the innovations of the Ars nova into music of dazzling subtlety: complex syncopations, multiple simultaneous meters, proportion signs, coloration (red/black notation) that alters rhythmic values, and isorhythmic devices. Composers often wrote in the French formes fixes (ballade, rondeau, virelai) and in elaborate motets, sometimes presenting pieces in fanciful shapes (hearts, circles) to mirror their poetic conceits. The sound world is courtly and intricate: interlocking lines in three or four parts, refined dissonance control, and virtuosic rhythms that challenge performers while serving refined, often allegorical texts.

Gregorian chant is the central Western tradition of plainchant: a monophonic, unaccompanied sacred song in Latin (and occasionally Greek) used in the Roman Catholic liturgy. It employs free rhythm guided by the prosody of the text rather than by strict meter, and is sung in unison by clerics or scholas. Its melodies are organized by the system of eight church modes, with characteristic finalis (final), tenor/reciting tones, and melodic formulas. Repertoires include the Proper and Ordinary of the Mass (e.g., Introit, Gradual, Alleluia, Offertory, Communion, Kyrie, Gloria, Credo, Sanctus, Agnus Dei) and the Divine Office (e.g., Antiphons, Responsories, Hymns, Psalms). Although legend credits Pope Gregory I, modern scholarship sees Gregorian chant as a Carolingian synthesis of Old Roman and Gallican chants, standardized across Frankish realms and later the broader Latin West.

Medieval music refers to the diverse sacred and secular musical practices of Europe between the fall of the Western Roman Empire and the dawn of the Renaissance. It spans more than eight centuries, from early monophonic chant to the first notated polyphony. Core features include the use of church modes rather than major/minor, extensive reliance on vocal music (Latin sacred chant as well as vernacular song), and the progressive development from unmeasured chant to rhythmic modal notation and, later, mensural notation. Texture evolves from monophony (plainchant, troubadour songs) to organum, conductus, and the motet, culminating in complex isorhythmic works by the late 13th–14th centuries. Secular traditions—troubadours and trouvères in France, Minnesänger in German lands, and the Iberian Cantigas—coexisted with and influenced sacred practice. Instruments such as the vielle, harp, psaltery, recorder, shawm, hurdy-gurdy, and portative organ often doubled or accompanied voices, though much music remained purely vocal.