{"id":3415,"date":"2024-09-27T16:07:15","date_gmt":"2024-09-27T14:07:15","guid":{"rendered":"https:\/\/pigyki.fr\/?p=3415"},"modified":"2024-11-24T13:34:48","modified_gmt":"2024-11-24T12:34:48","slug":"escucha-musical-n46","status":"publish","type":"post","link":"https:\/\/pigyki.fr\/index.php\/es\/2024\/09\/27\/escucha-musical-n46\/","title":{"rendered":"Escucha musical n\u00b046     Ars Antiqua"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">Ars Antiqua &#8211; Siglo XIII<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">Franco de Cologne (entre 1210 y 1270)<\/h3>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"218\" height=\"240\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Franco-de-Cologne-2.jpg\" alt=\"\" class=\"wp-image-3385 size-full\"\/><\/figure><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\"><strong>Franco de Cologne<\/strong>, mediados del siglo XIII, tambi\u00e9n conocido como Franco de Par\u00eds, fue un te\u00f3rico musical alem\u00e1n y posiblemente compositor. Fue uno de los te\u00f3ricos m\u00e1s influyentes de finales de la Edad Media y el primero en proponer una idea que iba a transformar la notaci\u00f3n musical de una vez por todas: la duraci\u00f3n de una nota deb\u00eda determinarse por su aparici\u00f3n en la p\u00e1gina, y no s\u00f3lo por su contexto. As\u00ed naci\u00f3 la notaci\u00f3n franca.<\/p>\n<\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Desarroll\u00f3 la forma del \u00ab\u00a0<strong>motete franconiano<\/strong>\u00a0\u00bb politextual, una composici\u00f3n vocal generalmente a tres voces con un texto diferente para cada parte. Los diferentes textos pueden complementarse o contradecirse; uno puede ser profano y el otro sacro; \u00a1incluso pueden estar escritos en lenguas diferentes (franc\u00e9s o lat\u00edn)!<br>Estos motetes, compuestos hacia 1250-1280, se diferencian de los motetes anteriores de la <strong>escuela de Notre-Dame<\/strong> en que no utilizan modos r\u00edtmicos, el triplum (voz superior) est\u00e1 m\u00e1s subdividido y los textos m\u00faltiples tambi\u00e9n pueden estar en varias lenguas.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>J&rsquo;ai mis &#8211; Je n&rsquo;en puis &#8211; Puerorum<\/strong> &#8211; Dos voces dirigidas por David Fenwick Wilson.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/7.-Music-of-the-Middle-Ages-Franconian-Motet.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Ave Gloriosa Mater Salvatoris<\/strong> (motet)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">En esta pieza, ver\u00e1 que el canto gregoriano mon\u00f3dico no est\u00e1 lejos. Se intuye que sigue siendo la referencia de la que se escapan otras dos voces\u2026<br>Primera versi\u00f3n por The Hilliard Ensemble de David Fenwick Wilson.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Ave-gloriosa-mater-salvatoris.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Interpretaci\u00f3n anterior (grabaci\u00f3n de 1940) por Yves Tinayre (tenor) y La Psallette Notre-Dame &#8211; Dirigida por Jacques Chailley.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Francon-de-Cologne-c1210-1270-Ave-Gloriosa-Mater-Salvatoris-motet-1.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\"><em>Esta grabaci\u00f3n de 1940 me parece conmovedora, testimonio de la primera investigaci\u00f3n grabada de esta m\u00fasica de otra \u00e9poca, \u00a1como si hubiera salido de las catacumbas! La he limpiado lo mejor que he podido para hacerla audible. No creo que los music\u00f3logos de hoy en d\u00eda hicieran todas esas ralentizaciones al final de una frase&#8230; Pero Jacques Chailley* fue un pionero.<\/em><\/p>\n\n\n<style>.kb-gallery-id-3415_32b075-fc .kadence-blocks-gallery-item .kb-gal-image-radius, .kb-gallery-id-3415_32b075-fc .kb-slide-item .kb-gal-image-radius img{border-radius:0px 0px 0px 0px;;}.kb-gallery-wrap-id-3415_32b075-fc.wp-block-kadence-advancedgallery{overflow:visible;}.kb-gallery-wrap-id-3415_32b075-fc.wp-block-kadence-advancedgallery .kt-blocks-carousel{overflow:visible;}<\/style><div class=\"kb-gallery-wrap-id-3415_32b075-fc alignnone wp-block-kadence-advancedgallery\"><div class=\"kb-gallery-ul kb-gallery-non-static kb-gallery-type-slider kb-gallery-id-3415_32b075-fc kb-gallery-caption-style-bottom-hover kb-gallery-filter-none\" data-image-filter=\"none\" data-lightbox-caption=\"true\"><div class=\"kt-blocks-carousel splide kt-carousel-container-dotstyle-dark kt-carousel-arrowstyle-none kt-carousel-dotstyle-dark kb-slider-group-arrow kb-slider-arrow-position-center\" data-slider-anim-speed=\"100\" data-slider-scroll=\"1\" data-slider-arrows=\"false\" data-slider-fade=\"true\" data-slider-dots=\"true\" data-slider-type=\"slider\" data-slider-hover-pause=\"false\" data-slider-auto=\"1\" data-slider-speed=\"7000\" data-show-pause-button=\"false\"><div class=\"splide__track\"><ul class=\"kt-blocks-carousel-init kb-blocks-slider splide__list\"><li class=\"kb-slide-item kb-gallery-slide-item splide__slide\"><div class=\"kadence-blocks-gallery-item\"><div class=\"kadence-blocks-gallery-item-inner\"><figure class=\"kb-gallery-figure kadence-blocks-gallery-item-hide-caption\"><div class=\"kb-gal-image-radius\"><div class=\"kb-gallery-image-contain kadence-blocks-gallery-intrinsic kb-gallery-image-ratio-land32 kb-has-image-ratio-land32\" ><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Petrus-de-cruce-3.jpeg\" width=\"225\" height=\"225\" alt=\"\" data-full-image=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Petrus-de-cruce-3.jpeg\" data-light-image=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Petrus-de-cruce-3.jpeg\" data-id=\"3879\" class=\"wp-image-3879 skip-lazy\" srcset=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Petrus-de-cruce-3.jpeg 225w, https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Petrus-de-cruce-3-150x150.jpeg 150w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/div><\/div><\/figure><\/div><\/div><\/li><\/ul><\/div><\/div><\/div><\/div>\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Aqu\u00ed tiene 3 grabaciones de motetes francones juntos (7&rsquo;43)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Franconiens-3-pieces.mp3\"><\/audio><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Petrus de Cruce<\/strong> (Pierre de la Croix) (hacia 1270 &#8211; hacia 1347)<\/h3>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p class=\"wp-block-paragraph\"><strong>Petrus de Cruce<\/strong> estuvo activo como cl\u00e9rigo, compositor y te\u00f3rico a finales del siglo XIII.<br>En la m\u00fasica de sus predecesores, cada br\u00e8ve pod\u00eda dividirse en tres medias br\u00e8ves \u00ab\u00a0perfectas\u00a0\u00bb o dos medias br\u00e8ves \u00ab\u00a0imperfectas\u00a0\u00bb (la perfecci\u00f3n era ternaria, reflejo de la Sant\u00edsima Trinidad, dogma cat\u00f3lico rector). Su principal innovaci\u00f3n consisti\u00f3 en aumentar el n\u00famero de subdivisiones posibles de la \u00ab\u00a0br\u00e8ve\u00a0\u00bb, la m\u00e1s corta de las dos unidades r\u00edtmicas principales de la m\u00fasica medieval.<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/petrus-a-cruce-0b28ed-1024.jpg\" alt=\"\" class=\"wp-image-3239 size-full\"\/><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Los compositores de finales del siglo XIII quer\u00edan conservar los ritmos vocales en su tripla, por lo que buscaron la manera de dividir el tempus en m\u00e1s de tres medios tiempos, lo que en notaci\u00f3n moderna equivaldr\u00eda a un tuplet (tresillo, cuartoillo, quintillo, etc.). Petrus de Cruce propuso que la br\u00e8ve se dividiera en tantas partes como deseara el compositor. En la pr\u00e1ctica, lleg\u00f3 a utilizar hasta siete. Su principal aportaci\u00f3n fue el sistema de notaci\u00f3n.<br>Los motetes escritos de este modo se conocen como \u00ab\u00a0petronianos\u00a0\u00bb.<br>He aqu\u00ed algunos ejemplos:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Amours qui &#8211; Solem justicie &#8211; Solem<\/strong> &#8211; por The Hilliard Ensemble, dos voces dirigidas por David Fenwick Wilson<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/7.-Music-of-the-Middle-Ages-Petronian-Motet.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>S&rsquo;amours e\u00fbst point de poer<\/strong><br>Por el Praetorius Consort &#8211; Christopher Ball &#8211; Grayston Burgess &#8211; Purcell Consort of Voices<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Samours-eust-point-de-poer.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Je cuidoie bien metre jus\/Se j&rsquo;ai folement am\u00e9\/Solem <\/strong>(Motet)<br>Por el H\u00f6fische Liebeslieder aus Nordfrankreich<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Je-cuidoie-bien-metre-jusSe-jai-folement-ameSolem-Motet.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Versi\u00f3n instrumental : <strong><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Shawm\" target=\"_blank\" rel=\"noreferrer noopener\">Chalemie<\/a><\/em><\/strong>, <strong><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Baj%C3%B3n\" target=\"_blank\" rel=\"noreferrer noopener\">Dou\u00e7aine<\/a><\/em><\/strong>&nbsp;y <strong><em><a href=\"https:\/\/es.wikipedia.org\/wiki\/Viola_da_gamba\" target=\"_blank\" rel=\"noreferrer noopener\">Viola da Gamba<\/a><\/em><\/strong>, conjunto dirigido por Stephen Duncan<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Motet-Je-cuidoie-Se-jai-Solem-Petrus-de-Cruce-HAM-35_1.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Si quieres seguir el marcador, mira m\u00e1s abajo\u2026<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Petrus de Cruce - Je cuidoie bien metre jus\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/nJ5Ou41PI9o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Aucun ont trouv\u00e9 chant par usage\/Lonc tans me sui tenu de chanter\/Annuntiantes<\/strong> (Motet)<strong><br><\/strong>Por el H\u00f6fische Liebeslieder aus Nordfrankreich<a href=\"https:\/\/www.youtube.com\/@florian1531\"><\/a><\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Petrus-de-Cruce-Aucun-ont-trouve-chant-par-usage.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Aucun ont trouv\u00e9<\/strong> \u00b7 Charles Brett \u00b7 Martyn Hill \u00b7 The Early Music Consort Of London \u00b7 David Munrow<br>Versi\u00f3n para 2 voces + viola de gamba.<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/de-Cruce-Aucun-ont-trouve.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Aucun ont trouv\u00e9<\/strong> &#8211; Versi\u00f3n de un conjunto masculino: Blue Heron dirigido por Scott Metcalfe<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Aucun-ont-trouve-Lonc-tans-Annuntiantes.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Aqu\u00ed tiene 7 grabaciones de motetes petronianos reunidas (18&rsquo;22)<\/p>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/pigyki.fr\/wp-content\/uploads\/2024\/09\/Petroniens-7-pieces.mp3\"><\/audio><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\">*He aqu\u00ed una an\u00e9cdota sobre Jacques Chailley:<br>La profesora de piano de mi familia era Marie Gourgues-Magnan. Era profesora de la Schola Cantorum de Par\u00eds hasta que Jacques Chailley fue nombrado director de este ilustre instituto de la rue Saint-Jacques. Por alguna raz\u00f3n, tuvo un desacuerdo con \u00e9l y abandon\u00f3 la Schola, llev\u00e1ndose consigo a todos sus alumnos. Sigui\u00f3 dando clases a domicilio y algunas familias del barrio le abrieron sus salones para acoger a los alumnos que no pod\u00edan ir a su casa de Boulogne.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:14px\">Le guardaba un gran rencor a Jacques Chailley, y cuando le dije que era profesor de historia de la m\u00fasica en la Sorbona, donde yo estudiaba, me cont\u00f3 una an\u00e9cdota graciosa que le atribu\u00eda:<br>Mientras presentaba la correspondencia entre los nombres latinos y germ\u00e1nicos de las notas, en un intento de caricaturizar el modelo germ\u00e1nico, dijo que Fa bemol menor se convert\u00eda en Fes moll, \u00a1olvidando (?) que esta tonalidad no existe!<br>Se encontr\u00f3 su apodo: \u00a1Jacques Chailley hizo vibrar mi infancia como \u00ab\u00a0Fesse molle\u00a0\u00bb!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Petrus de Cruce a travaill\u00e9 \u00e0 la fin du XIIIe s. et l&rsquo;a rendue encore plus complexe. Sa principale innovation a \u00e9t\u00e9 d&rsquo;augmenter le nombre de subdivisions possibles de la \u00ab\u00a0breve\u00a0\u00bb, la plus courte des deux principales unit\u00e9s rythmiques de la musique m\u00e9di\u00e9vale&#8230;<\/p>\n","protected":false},"author":1,"featured_media":3878,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"rop_custom_images_group":[],"rop_custom_messages_group":[],"rop_publish_now":"initial","rop_publish_now_accounts":[],"rop_publish_now_history":[],"rop_publish_now_status":"pending","footnotes":""},"categories":[109,8],"tags":[],"class_list":["post-3415","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-escuchas","category-ecoutes-es"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Escucha musical n\u00b046   Ars Antiqua - Pigyki<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pigyki.fr\/index.php\/es\/2024\/09\/27\/escucha-musical-n46\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Escucha musical n\u00b046   Ars Antiqua - Pigyki\" \/>\n<meta property=\"og:description\" content=\"Petrus de Cruce a travaill\u00e9 \u00e0 la fin du XIIIe s. et l&#039;a rendue encore plus complexe. 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