HISTORIA DE LA MUSICA QUINTO CPM Arturo Soria 27/4/2021 10 H, Parte B - Contenido educativo
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Oh, my God.
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so let's see what you can tell me leyde
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not if you want to start that it is one of the 300 remember to two voices well there are the two
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Yes, he has a lot of melisma too.
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What else? Well, we have talked a lot.
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But always remember that when you mention the composer, that is, Jacopo de Bologna,
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who was an important composer in the early 30s, because this is an early 30s,
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So then you have to talk about, if you can, about the madrigal, remember.
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Remember this always.
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And then you include yourself in the work.
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That there is also a lot of rhythmic fluidity.
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Relatively both voices are the same.
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Aren't they?
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And they alternate in the form of oquetus.
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In the stanzas, the last syllable, accentuated in each verse, is sung with a long melisma.
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It flourishes more in the upper voice.
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And the melismas are characteristic features of the Italian style.
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So, let's see the caccia now.
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The caccia.
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Do I write it?
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Yes?
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There you are. I don't know why...
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Where is the...
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Let's see now the face.
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Anyway, next week I have to re-explain...
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Well, I have a name, but I'm going to re-explain it.
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You can't come.
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Well, it's okay.
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We're going to try to give everything we can.
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Let's see, the cacha.
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The cacha is a gender...
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It is analogous to the French chanson, okay?
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It is an analogous genre to the French chanson.
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So, it is a canon, it is a canon, it is a canon written with living and descriptive words, okay?
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It is a popular style melody made in a written style with living and descriptive words.
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It's the same thing I've told you now, huh?
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Oh, what a wish I have!
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As for poetic forms, it is irregular, just like in the madrigals.
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Many have ritornellos and are not always in the form of canoes.
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Tanto la CACCHA, la CACCHA significa, perdona, la CACCHA significa caza.
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Entonces hay un ejemplo, un tema que se llama, espérate, tengo que escribirlo porque,
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se llama, un ejemplo de CACCHA la tenemos, se llama TOSTO SHAL ALMA,
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Y es de girardello de Firenze.
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Da Firenze.
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Esto es una Z, ¿vale?
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Déjame hacerle una vez que lo entienda.
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¿Vale?
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Vamos a escucharla.
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La vamos a escuchar ahora porque en la próxima clase seguramente, como no vas a estar,
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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.
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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.
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All this, look at it here, let's listen to this now.
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25 years of privatizations, cuts and corruption in the community of Madrid.
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It's a management.
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Three voices, okay?
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The three voices work, you see?
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The three voices have a lot of movement.
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The three voices have more movement.
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The one that moves the least is the most serious, but the higher ones move, they go very
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at the same time, okay?
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It's like a canon, you know?
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It's like a canon, you see?
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You see, the softness in the sound is getting more and more latent.
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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?
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that there was a lot, there was a lot, the harmony was much more arid, many, many fifths and fourths
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that then they did, that then the melody was heard so rough, arid, but nevertheless here
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more and more, because the composers compose more with imperfect consonants, that is, there is
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there is more use of the imperfect consonants, you know what I mean?
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The rhythm is more complex, isn't it?
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It's getting more complex.
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There are three voices, but the higher voices are the ones that are most in motion, aren't they?
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And they are the ones that form more or less the canon,
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You are aware that there is a canon, aren't you?
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Ah, well.
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All those little things, you have to know them.
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Let's see the ballad.
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Let's talk a little bit about the ballad.
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Here we don't have songs, but well, let's talk about it.
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We'll talk about it anyway, about the ballad.
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The ballad.
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The ballads of the 13th century were songs of monophonic dances with choral scribbles.
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It became popular later in Madrigal and La Carcha.
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It has a French influence of the dominant triple.
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The term ballad means to dance, therefore it is associated with dance.
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Son a dos o tres voces y datan con fecha posterior a mil trescientos sesenta y cinco.
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¿Ya?
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Bueno, balata no tenemos canciones, porque ya, hombre, ya no nos da tiempo.
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Nos quedan dos minutos nada más.
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Y entonces, bueno, ya la próxima clase, que no vas a venir,
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but well we will give a very important Italian who composed many
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songs also many polyphonic songs especially ballads and the most
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outstanding of 300 was francesco landini who was a composer
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who wrote one of the most outstanding ballads of the composition in ballads
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composed of his 140 ballads 89 are two voices 42 to three voices
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and 9 have been preserved in two and three voices the ones he has composed for two
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voices are with text many of the ballads to three voices are
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in dominant style they are in dominant style and
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and they consist of a soloist voice plus two accompanying voices and without text
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abound here the thirds and sixths the thirds and sixths that is, they are
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real soft sounds, the thirds and sixths, the melody progresses in joint degrees
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y ornamentados con ritmos variados y a menudo esos ritmos son sincopados aunque en última instancia
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más suave las frases aquí en las canciones de francesco son arqueadas melisma sobre la primera
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y última sílaba y ya sabe que eso el melisma sobre la primera y la última sílaba y esos son
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features of the Italians, of the Italian songs, and with a syllabic structure.
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Do you want to hear it for a moment before you leave?
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This one, let's see.
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This one is by Francesco Landini, okay?
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Francesco Landini.
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Since you're not going to be here next week, you're not going to hear it.
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Look, here it is with the score.
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Francesco Landini uses a resource that is a cadence that puts his name on it.
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He does it at the end of the cadence, wait a minute.
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At least listen to it.
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That is a cadence that is called Landini.
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And then he does it in almost all the works.
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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?
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That's a third string jump before solving it.
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You see that more and more cadences are made.
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And it is accompanied by string instruments. Are you listening?
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that is very characteristic in his works that terminal that is a cadence that is called
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cadence landini you saw that he almost always does it that it is better to listen to it
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you saw that he always does it you stay with that sound and let me tell you that apart from him he was
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who used that melodic resource the most, but also other composers of the time
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also did it. What he was the one who used it the most, that is a melodic resource that he uses,
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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.
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Y entonces, pues nada Leire, ya son las y media ya
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A ver si, bueno ya la semana que viene ya lo que vamos a dar es la
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Ya hemos dado ya, vamos a dar instrumentos
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Si, por favor
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Vamos a dar la música instrumental
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- Idioma/s:
- Autor/es:
- DIAMELVA DIAZ GARCÍA
- Subido por:
- Diamelva D.
- Licencia:
- Todos los derechos reservados
- Visualizaciones:
- 18
- Fecha:
- 28 de abril de 2021 - 10:30
- Visibilidad:
- Clave
- Centro:
- CPR MUS CONSERVATORIO PROFESIONAL DE MUSICA (Arturo Soria)
- Duración:
- 22′ 29″
- Relación de aspecto:
- 1.78:1
- Resolución:
- 1280x720 píxeles
- Tamaño:
- 135.03 MBytes