1
00:00:00,180 --> 00:00:58,509
Oh, my God.

2
00:00:58,530 --> 00:01:11,709
so let's see what you can tell me leyde

3
00:01:19,359 --> 00:02:00,489
not if you want to start that it is one of the 300 remember to two voices well there are the two

4
00:02:00,489 --> 00:02:06,489
Yes, he has a lot of melisma too.

5
00:02:06,489 --> 00:02:26,270
What else? Well, we have talked a lot.

6
00:02:26,270 --> 00:02:32,270
But always remember that when you mention the composer, that is, Jacopo de Bologna,

7
00:02:32,270 --> 00:02:43,270
who was an important composer in the early 30s, because this is an early 30s,

8
00:02:43,270 --> 00:02:52,710
So then you have to talk about, if you can, about the madrigal, remember.

9
00:02:52,710 --> 00:02:55,710
Remember this always.

10
00:02:55,710 --> 00:03:02,710
And then you include yourself in the work.

11
00:03:02,710 --> 00:03:05,710
That there is also a lot of rhythmic fluidity.

12
00:03:05,710 --> 00:03:11,860
Relatively both voices are the same.

13
00:03:11,860 --> 00:03:13,860
Aren't they?

14
00:03:13,860 --> 00:03:16,860
And they alternate in the form of oquetus.

15
00:03:16,860 --> 00:03:30,289
In the stanzas, the last syllable, accentuated in each verse, is sung with a long melisma.

16
00:03:30,289 --> 00:03:33,289
It flourishes more in the upper voice.

17
00:03:33,289 --> 00:03:41,009
And the melismas are characteristic features of the Italian style.

18
00:03:41,009 --> 00:04:00,439
So, let's see the caccia now.

19
00:04:00,439 --> 00:04:09,219
The caccia.

20
00:04:09,219 --> 00:04:11,219
Do I write it?

21
00:04:11,219 --> 00:04:12,219
Yes?

22
00:04:12,219 --> 00:04:17,680
There you are. I don't know why...

23
00:04:17,680 --> 00:04:19,680
Where is the...

24
00:04:19,680 --> 00:04:24,500
Let's see now the face.

25
00:04:24,500 --> 00:04:27,500
Anyway, next week I have to re-explain...

26
00:04:27,500 --> 00:04:30,500
Well, I have a name, but I'm going to re-explain it.

27
00:04:30,500 --> 00:04:32,500
You can't come.

28
00:04:32,500 --> 00:04:34,500
Well, it's okay.

29
00:04:34,500 --> 00:04:41,180
We're going to try to give everything we can.

30
00:04:41,180 --> 00:04:42,180
Let's see, the cacha.

31
00:04:42,180 --> 00:04:44,180
The cacha is a gender...

32
00:04:44,180 --> 00:04:52,180
It is analogous to the French chanson, okay?

33
00:04:52,180 --> 00:05:05,660
It is an analogous genre to the French chanson.

34
00:05:05,660 --> 00:05:20,689
So, it is a canon, it is a canon, it is a canon written with living and descriptive words, okay?

35
00:05:20,689 --> 00:05:27,990
It is a popular style melody made in a written style with living and descriptive words.

36
00:05:27,990 --> 00:05:29,990
It's the same thing I've told you now, huh?

37
00:05:29,990 --> 00:05:32,990
Oh, what a wish I have!

38
00:05:32,990 --> 00:05:39,879
As for poetic forms, it is irregular, just like in the madrigals.

39
00:05:39,879 --> 00:05:55,300
Many have ritornellos and are not always in the form of canoes.

40
00:05:55,300 --> 00:06:05,529
Tanto la CACCHA, la CACCHA significa, perdona, la CACCHA significa caza.

41
00:06:11,870 --> 00:06:18,410
Entonces hay un ejemplo, un tema que se llama, espérate, tengo que escribirlo porque,

42
00:06:18,410 --> 00:06:49,860
se llama, un ejemplo de CACCHA la tenemos, se llama TOSTO SHAL ALMA,

43
00:06:49,860 --> 00:07:09,860
Y es de girardello de Firenze.

44
00:07:10,980 --> 00:07:13,819
Da Firenze.

45
00:07:17,680 --> 00:07:18,800
Esto es una Z, ¿vale?

46
00:07:19,060 --> 00:07:20,860
Déjame hacerle una vez que lo entienda.

47
00:07:27,350 --> 00:07:27,769
¿Vale?

48
00:07:28,910 --> 00:07:29,930
Vamos a escucharla.

49
00:07:32,610 --> 00:07:36,110
La vamos a escuchar ahora porque en la próxima clase seguramente, como no vas a estar,

50
00:07:36,110 --> 00:07:55,069
I would like to review them, because since we are almost at the limit of what we are going to do in the questionnaire, I don't know what I'm going to put on it, because now I do have more options, it wasn't like before, now there are more options.

51
00:07:55,069 --> 00:08:17,319
And options that are not difficult, these options are not difficult, but there are still people who are caught, there are people who are maybe drowned in a glass of water.

52
00:08:26,910 --> 00:08:48,399
All this, look at it here, let's listen to this now.

53
00:08:53,940 --> 00:08:58,240
25 years of privatizations, cuts and corruption in the community of Madrid.

54
00:08:58,240 --> 00:09:00,240
It's a management.

55
00:09:19,690 --> 00:09:21,690
Three voices, okay?

56
00:09:33,690 --> 00:09:35,690
The three voices work, you see?

57
00:09:36,690 --> 00:09:38,690
The three voices have a lot of movement.

58
00:09:39,690 --> 00:10:03,049
The three voices have more movement.

59
00:10:03,049 --> 00:10:25,690
The one that moves the least is the most serious, but the higher ones move, they go very

60
00:10:25,690 --> 00:10:26,690
at the same time, okay?

61
00:10:26,690 --> 00:10:43,789
It's like a canon, you know?

62
00:10:43,789 --> 00:10:53,690
It's like a canon, you see?

63
00:11:10,759 --> 00:11:19,759
You see, the softness in the sound is getting more and more latent.

64
00:11:19,759 --> 00:11:47,720
Those things you have to, you have to, you saw that we are no longer in the 13th century, that the melody, remember that it was more, oh what a scare, what a scare that gave me, I don't know at what time, what was I going to tell you, that it reminds you that we are no longer in the previous stage, eh?

65
00:11:47,720 --> 00:11:57,519
that there was a lot, there was a lot, the harmony was much more arid, many, many fifths and fourths

66
00:11:57,519 --> 00:12:05,779
that then they did, that then the melody was heard so rough, arid, but nevertheless here

67
00:12:05,779 --> 00:12:15,320
more and more, because the composers compose more with imperfect consonants, that is, there is

68
00:12:15,320 --> 00:12:20,320
there is more use of the imperfect consonants, you know what I mean?

69
00:12:20,320 --> 00:12:27,320
The rhythm is more complex, isn't it?

70
00:12:27,320 --> 00:12:39,159
It's getting more complex.

71
00:12:39,159 --> 00:12:45,159
There are three voices, but the higher voices are the ones that are most in motion, aren't they?

72
00:12:45,159 --> 00:12:51,690
And they are the ones that form more or less the canon,

73
00:12:51,690 --> 00:12:55,690
You are aware that there is a canon, aren't you?

74
00:12:55,690 --> 00:12:59,960
Ah, well.

75
00:12:59,960 --> 00:13:03,960
All those little things, you have to know them.

76
00:13:03,960 --> 00:13:06,960
Let's see the ballad.

77
00:13:06,960 --> 00:13:09,960
Let's talk a little bit about the ballad.

78
00:13:09,960 --> 00:13:12,960
Here we don't have songs, but well, let's talk about it.

79
00:13:12,960 --> 00:13:16,960
We'll talk about it anyway, about the ballad.

80
00:13:16,960 --> 00:13:19,960
The ballad.

81
00:13:19,960 --> 00:13:26,960
The ballads of the 13th century were songs of monophonic dances with choral scribbles.

82
00:13:26,960 --> 00:13:43,070
It became popular later in Madrigal and La Carcha.

83
00:13:43,070 --> 00:13:52,799
It has a French influence of the dominant triple.

84
00:13:52,799 --> 00:14:05,929
The term ballad means to dance, therefore it is associated with dance.

85
00:14:05,929 --> 00:14:22,929
Son a dos o tres voces y datan con fecha posterior a mil trescientos sesenta y cinco.

86
00:14:35,610 --> 00:14:35,750
¿Ya?

87
00:14:36,269 --> 00:14:44,309
Bueno, balata no tenemos canciones, porque ya, hombre, ya no nos da tiempo.

88
00:14:46,269 --> 00:14:47,669
Nos quedan dos minutos nada más.

89
00:14:48,850 --> 00:14:54,289
Y entonces, bueno, ya la próxima clase, que no vas a venir,

90
00:14:54,289 --> 00:15:01,169
but well we will give a very important Italian who composed many

91
00:15:01,169 --> 00:15:06,590
songs also many polyphonic songs especially ballads and the most

92
00:15:06,590 --> 00:15:13,610
outstanding of 300 was francesco landini who was a composer

93
00:15:14,649 --> 00:15:20,490
who wrote one of the most outstanding ballads of the composition in ballads

94
00:15:20,490 --> 00:15:37,490
composed of his 140 ballads 89 are two voices 42 to three voices

95
00:15:37,490 --> 00:15:48,919
and 9 have been preserved in two and three voices the ones he has composed for two

96
00:15:48,919 --> 00:16:00,440
voices are with text many of the ballads to three voices are

97
00:16:00,440 --> 00:16:08,480
in dominant style they are in dominant style and

98
00:16:08,480 --> 00:16:15,620
and they consist of a soloist voice plus two accompanying voices and without text

99
00:16:23,500 --> 00:16:28,360
abound here the thirds and sixths the thirds and sixths that is, they are

100
00:16:28,360 --> 00:16:35,500
real soft sounds, the thirds and sixths, the melody progresses in joint degrees

101
00:16:35,500 --> 00:16:49,980
y ornamentados con ritmos variados y a menudo esos ritmos son sincopados aunque en última instancia

102
00:16:49,980 --> 00:17:06,079
más suave las frases aquí en las canciones de francesco son arqueadas melisma sobre la primera

103
00:17:06,079 --> 00:17:15,319
y última sílaba y ya sabe que eso el melisma sobre la primera y la última sílaba y esos son

104
00:17:16,000 --> 00:17:26,000
features of the Italians, of the Italian songs, and with a syllabic structure.

105
00:17:26,000 --> 00:17:31,000
Do you want to hear it for a moment before you leave?

106
00:17:31,000 --> 00:17:33,000
This one, let's see.

107
00:17:33,000 --> 00:17:43,109
This one is by Francesco Landini, okay?

108
00:17:43,109 --> 00:17:47,569
Francesco Landini.

109
00:17:47,569 --> 00:17:50,569
Since you're not going to be here next week, you're not going to hear it.

110
00:17:50,569 --> 00:18:26,470
Look, here it is with the score.

111
00:18:26,470 --> 00:18:35,910
Francesco Landini uses a resource that is a cadence that puts his name on it.

112
00:18:35,910 --> 00:18:41,279
He does it at the end of the cadence, wait a minute.

113
00:18:41,279 --> 00:18:49,779
At least listen to it.

114
00:19:02,369 --> 00:19:06,369
That is a cadence that is called Landini.

115
00:19:06,369 --> 00:19:19,880
And then he does it in almost all the works.

116
00:19:19,880 --> 00:19:25,880
I'll explain it to you later, but listen to it first so that later I can explain it to you and you remember it, you know?

117
00:19:35,799 --> 00:19:39,799
That's a third string jump before solving it.

118
00:19:46,329 --> 00:19:48,329
You see that more and more cadences are made.

119
00:19:49,329 --> 00:20:13,970
And it is accompanied by string instruments. Are you listening?

120
00:20:13,970 --> 00:20:28,470
that is very characteristic in his works that terminal that is a cadence that is called

121
00:20:28,470 --> 00:20:40,789
cadence landini you saw that he almost always does it that it is better to listen to it

122
00:20:43,849 --> 00:21:42,200
you saw that he always does it you stay with that sound and let me tell you that apart from him he was

123
00:21:42,200 --> 00:21:51,099
who used that melodic resource the most, but also other composers of the time

124
00:21:51,099 --> 00:21:58,960
also did it. What he was the one who used it the most, that is a melodic resource that he uses,

125
00:21:58,960 --> 00:22:04,400
which is called Landino cadence, and he put it on because he was the one who, that is, at least he was attributed to him.

126
00:22:04,400 --> 00:22:09,039
Y entonces, pues nada Leire, ya son las y media ya

127
00:22:09,039 --> 00:22:14,240
A ver si, bueno ya la semana que viene ya lo que vamos a dar es la

128
00:22:14,240 --> 00:22:19,579
Ya hemos dado ya, vamos a dar instrumentos

129
00:22:19,579 --> 00:22:24,299
Si, por favor

130
00:22:24,299 --> 00:22:28,769
Vamos a dar la música instrumental