{"id":7347,"date":"2021-01-25T18:00:46","date_gmt":"2021-01-25T17:00:46","guid":{"rendered":"https:\/\/www.medievalmusicbesalu.com\/courses-spring-2021-online\/medieval-singing-3\/"},"modified":"2021-02-14T16:30:35","modified_gmt":"2021-02-14T15:30:35","slug":"canto-medieval-nivel-3","status":"publish","type":"page","link":"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/","title":{"rendered":"El arte vocal del conductus mon\u00f3dico en el apogeo de la escuela de Notre Dame &#8211; nivel 3"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; custom_padding_last_edited=&#8221;on|phone&#8221; admin_label=&#8221;Header&#8221; _builder_version=&#8221;4.0.7&#8243; use_background_color_gradient=&#8221;on&#8221; background_color_gradient_start=&#8221;rgba(133,147,139,0.6)&#8221; background_color_gradient_end=&#8221;rgba(255,249,229,0.6)&#8221; background_color_gradient_direction=&#8221;1deg&#8221; background_color_gradient_end_position=&#8221;0%&#8221; background_color_gradient_overlays_image=&#8221;on&#8221; 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header_6_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; header_6_text_shadow_vertical_length_tablet=&#8221;0px&#8221; header_6_text_shadow_blur_strength_tablet=&#8221;1px&#8221; box_shadow_horizontal_tablet=&#8221;0px&#8221; box_shadow_vertical_tablet=&#8221;0px&#8221; box_shadow_blur_tablet=&#8221;40px&#8221; box_shadow_spread_tablet=&#8221;0px&#8221;]<\/p>\n<h3>Descripci\u00f3n del curso<\/h3>\n<p>\u00bfCu\u00e1l era la canci\u00f3n m\u00e1s sofisticada del Paris del siglo XIII? Sin duda, esta canci\u00f3n fue obra de un hombre llamado Philippe, el hijo ileg\u00edtimo de un importante cl\u00e9rigo y una dama aristocr\u00e1tica, qui\u00e9n fue una de las figuras pol\u00edticas y art\u00edsticas m\u00e1s poderosas y dominantes de la catedral de Notre Dame (canciller de la catedral y la universidad antes de su muerte en 1236). \u00bfCu\u00e1les fueron las canciones que cre\u00f3? (En la actualidad se le atribuyen m\u00e1s de 80 composiciones). \u00bfQui\u00e9n las interpret\u00f3? \u00bfC\u00f3mo sonaron? \u00bfQu\u00e9 efecto tuvieron en sus oyentes, tanto en la comunidad catedralicia de la \u00e9poca como entre los oyentes de hoy? \u00bfC\u00f3mo pueden los cantantes de hoy recuperar la magia de este artista \u00fanico del siglo XIII?<\/p>\n<p>Este curso ofrece un estudio de la obra de Philippe y su papel en la historia del centro musical m\u00e1s importante de la Europa medieval. Utilizando esto como punto de partida, podremos desarrollar nuestra t\u00e9cnica de canto y ampliar nuestro conocimiento de la canci\u00f3n medieval en general. Adem\u00e1s, el curso brindar\u00e1 herramientas pr\u00e1cticas para el estudio y la ejecuci\u00f3n de cualquier repertorio de canciones medievales.<\/p>\n<p>Algunos de los temas a discutir incluyen:<\/p>\n<p>[\/et_pb_text][et_pb_blurb use_icon=&#8221;on&#8221; font_icon=&#8221;%%57%%&#8221; icon_color=&#8221;#8d181b&#8221; icon_placement=&#8221;left&#8221; content_max_width=&#8221;1100px&#8221; _builder_version=&#8221;4.8.2&#8243; header_font=&#8221;Open Sans|600|||||||&#8221; header_line_height=&#8221;1.5em&#8221; body_line_height=&#8221;1.4em&#8221; vertical_offset_tablet=&#8221;0&#8243; horizontal_offset_tablet=&#8221;0&#8243; custom_margin=&#8221;0px||20px|&#8221; body_font_size_tablet=&#8221;&#8221; body_font_size_phone=&#8221;14px&#8221; body_font_size_last_edited=&#8221;on|desktop&#8221; z_index_tablet=&#8221;500&#8243; custom_css_blurb_title=&#8221;font-size: 18px;&#8221; header_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; header_text_shadow_vertical_length_tablet=&#8221;0px&#8221; header_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_link_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_link_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_link_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_ul_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_ul_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_ul_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_ol_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_ol_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_ol_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_quote_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_quote_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_quote_text_shadow_blur_strength_tablet=&#8221;1px&#8221; box_shadow_horizontal_tablet=&#8221;0px&#8221; box_shadow_vertical_tablet=&#8221;0px&#8221; box_shadow_blur_tablet=&#8221;40px&#8221; box_shadow_spread_tablet=&#8221;0px&#8221; box_shadow_horizontal_image_tablet=&#8221;0px&#8221; box_shadow_vertical_image_tablet=&#8221;0px&#8221; box_shadow_blur_image_tablet=&#8221;40px&#8221; box_shadow_spread_image_tablet=&#8221;0px&#8221; text_shadow_horizontal_length_tablet=&#8221;0px&#8221; text_shadow_vertical_length_tablet=&#8221;0px&#8221; text_shadow_blur_strength_tablet=&#8221;1px&#8221; align_last_edited=&#8221;on|desktop&#8221; align_tablet=&#8221;center&#8221;]<\/p>\n<p>La vida musical en Notre Dame a principios del siglo XIII<\/p>\n<p>[\/et_pb_blurb][et_pb_blurb use_icon=&#8221;on&#8221; font_icon=&#8221;%%57%%&#8221; icon_color=&#8221;#8d181b&#8221; icon_placement=&#8221;left&#8221; content_max_width=&#8221;1100px&#8221; _builder_version=&#8221;4.8.2&#8243; header_font=&#8221;Open Sans|600|||||||&#8221; header_line_height=&#8221;1.5em&#8221; body_line_height=&#8221;1.4em&#8221; vertical_offset_tablet=&#8221;0&#8243; horizontal_offset_tablet=&#8221;0&#8243; custom_margin=&#8221;0px||20px|&#8221; body_font_size_tablet=&#8221;&#8221; body_font_size_phone=&#8221;14px&#8221; body_font_size_last_edited=&#8221;on|desktop&#8221; z_index_tablet=&#8221;500&#8243; custom_css_blurb_title=&#8221;font-size: 18px;&#8221; header_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; header_text_shadow_vertical_length_tablet=&#8221;0px&#8221; header_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_link_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_link_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_link_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_ul_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_ul_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_ul_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_ol_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_ol_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_ol_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_quote_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_quote_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_quote_text_shadow_blur_strength_tablet=&#8221;1px&#8221; box_shadow_horizontal_tablet=&#8221;0px&#8221; box_shadow_vertical_tablet=&#8221;0px&#8221; box_shadow_blur_tablet=&#8221;40px&#8221; box_shadow_spread_tablet=&#8221;0px&#8221; box_shadow_horizontal_image_tablet=&#8221;0px&#8221; box_shadow_vertical_image_tablet=&#8221;0px&#8221; box_shadow_blur_image_tablet=&#8221;40px&#8221; box_shadow_spread_image_tablet=&#8221;0px&#8221; text_shadow_horizontal_length_tablet=&#8221;0px&#8221; text_shadow_vertical_length_tablet=&#8221;0px&#8221; text_shadow_blur_strength_tablet=&#8221;1px&#8221; locked=&#8221;off&#8221; align_last_edited=&#8221;on|desktop&#8221; align_tablet=&#8221;center&#8221;]<\/p>\n<p>Estudio del uso de la ret\u00f3rica en la creaci\u00f3n e interpretaci\u00f3n de la canci\u00f3n monof\u00f3nica medieval<\/p>\n<p>[\/et_pb_blurb][et_pb_blurb use_icon=&#8221;on&#8221; font_icon=&#8221;%%57%%&#8221; icon_color=&#8221;#8d181b&#8221; icon_placement=&#8221;left&#8221; content_max_width=&#8221;1100px&#8221; _builder_version=&#8221;4.8.2&#8243; header_font=&#8221;Open Sans|600|||||||&#8221; header_line_height=&#8221;1.5em&#8221; body_line_height=&#8221;1.4em&#8221; vertical_offset_tablet=&#8221;0&#8243; horizontal_offset_tablet=&#8221;0&#8243; custom_margin=&#8221;0px||20px|&#8221; body_font_size_tablet=&#8221;&#8221; body_font_size_phone=&#8221;14px&#8221; body_font_size_last_edited=&#8221;on|desktop&#8221; z_index_tablet=&#8221;500&#8243; custom_css_blurb_title=&#8221;font-size: 18px;&#8221; header_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; header_text_shadow_vertical_length_tablet=&#8221;0px&#8221; header_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_link_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_link_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_link_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_ul_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_ul_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_ul_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_ol_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_ol_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_ol_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_quote_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_quote_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_quote_text_shadow_blur_strength_tablet=&#8221;1px&#8221; box_shadow_horizontal_tablet=&#8221;0px&#8221; box_shadow_vertical_tablet=&#8221;0px&#8221; box_shadow_blur_tablet=&#8221;40px&#8221; box_shadow_spread_tablet=&#8221;0px&#8221; box_shadow_horizontal_image_tablet=&#8221;0px&#8221; box_shadow_vertical_image_tablet=&#8221;0px&#8221; box_shadow_blur_image_tablet=&#8221;40px&#8221; box_shadow_spread_image_tablet=&#8221;0px&#8221; text_shadow_horizontal_length_tablet=&#8221;0px&#8221; text_shadow_vertical_length_tablet=&#8221;0px&#8221; text_shadow_blur_strength_tablet=&#8221;1px&#8221; saved_tabs=&#8221;all&#8221; align_last_edited=&#8221;on|desktop&#8221; align_tablet=&#8221;center&#8221;]<\/p>\n<p>Las fuentes que nos han transmitido la obra de Philippe<\/p>\n<p>[\/et_pb_blurb][et_pb_blurb use_icon=&#8221;on&#8221; font_icon=&#8221;%%57%%&#8221; icon_color=&#8221;#8d181b&#8221; icon_placement=&#8221;left&#8221; content_max_width=&#8221;1100px&#8221; _builder_version=&#8221;4.8.2&#8243; header_font=&#8221;Open Sans|600|||||||&#8221; header_line_height=&#8221;1.5em&#8221; body_line_height=&#8221;1.4em&#8221; vertical_offset_tablet=&#8221;0&#8243; horizontal_offset_tablet=&#8221;0&#8243; custom_margin=&#8221;0px||20px|&#8221; body_font_size_tablet=&#8221;&#8221; body_font_size_phone=&#8221;14px&#8221; body_font_size_last_edited=&#8221;on|desktop&#8221; z_index_tablet=&#8221;500&#8243; custom_css_blurb_title=&#8221;font-size: 18px;&#8221; header_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; header_text_shadow_vertical_length_tablet=&#8221;0px&#8221; header_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_link_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_link_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_link_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_ul_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_ul_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_ul_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_ol_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_ol_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_ol_text_shadow_blur_strength_tablet=&#8221;1px&#8221; body_quote_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; body_quote_text_shadow_vertical_length_tablet=&#8221;0px&#8221; body_quote_text_shadow_blur_strength_tablet=&#8221;1px&#8221; box_shadow_horizontal_tablet=&#8221;0px&#8221; box_shadow_vertical_tablet=&#8221;0px&#8221; box_shadow_blur_tablet=&#8221;40px&#8221; box_shadow_spread_tablet=&#8221;0px&#8221; box_shadow_horizontal_image_tablet=&#8221;0px&#8221; box_shadow_vertical_image_tablet=&#8221;0px&#8221; box_shadow_blur_image_tablet=&#8221;40px&#8221; box_shadow_spread_image_tablet=&#8221;0px&#8221; text_shadow_horizontal_length_tablet=&#8221;0px&#8221; text_shadow_vertical_length_tablet=&#8221;0px&#8221; text_shadow_blur_strength_tablet=&#8221;1px&#8221; align_last_edited=&#8221;on|desktop&#8221; align_tablet=&#8221;center&#8221;]<\/p>\n<p>El papel de la memoria y la tradici\u00f3n oral entre los intelectuales y artistas medievales<\/p>\n<p>[\/et_pb_blurb][\/et_pb_column][et_pb_column type=&#8221;1_3&#8243; _builder_version=&#8221;3.0.47&#8243; background_color=&#8221;rgba(255,249,229,0.61)&#8221; 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header_4_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; header_4_text_shadow_vertical_length_tablet=&#8221;0px&#8221; header_4_text_shadow_blur_strength_tablet=&#8221;1px&#8221; header_5_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; header_5_text_shadow_vertical_length_tablet=&#8221;0px&#8221; header_5_text_shadow_blur_strength_tablet=&#8221;1px&#8221; header_6_text_shadow_horizontal_length_tablet=&#8221;0px&#8221; header_6_text_shadow_vertical_length_tablet=&#8221;0px&#8221; header_6_text_shadow_blur_strength_tablet=&#8221;1px&#8221; box_shadow_horizontal_tablet=&#8221;0px&#8221; box_shadow_vertical_tablet=&#8221;0px&#8221; box_shadow_blur_tablet=&#8221;40px&#8221; box_shadow_spread_tablet=&#8221;0px&#8221; locked=&#8221;off&#8221;]<\/p>\n<p><strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/faculty\/jasmina-crncic\"><\/a><a href=\"https:\/\/www.medievalmusicbesalu.com\/site20\/wp-content\/uploads\/2019\/11\/jasmina-crncic-310-1.jpg\"><img loading=\"lazy\" class=\"wp-image-5301  alignleft\" src=\"https:\/\/www.medievalmusicbesalu.com\/site20\/wp-content\/uploads\/2019\/11\/jasmina-crncic-310-1-150x150.jpg\" alt=\"Jasmina \u010crn\u010di\u010d\" width=\"90\" height=\"92\"><\/a><a href=\"https:\/\/www.medievalmusicbesalu.com\/faculty\/mauricio-molina\"><\/a>Profesor: <\/strong><br \/> <strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/faculty\/jasmina-crncic\/\">Jasmina \u010crn\u010di\u010d<\/a><br \/> <\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text admin_label=&#8221;informaci\u00f3n practica&#8221; 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They were used by jongleurs, troubadours, and clerics to accompany songs and perform instrumental music. They were also used as emblems and symbols charged with religious and secular meaning. <br \/><br \/>In this course musicology, philology, and art history will be combined to approach medieval instruments from all possible points of view.<\/p>\r\n<p>Students will learn to:<\/p>\r\n<ul>\r\n<li>Read medieval notation with the voice and musical instruments<\/li>\r\n<li>Accompany the voice and the medieval lyrical and narrative song<\/li>\r\n<li>Ornament vocal and instrumental compositions<\/li>\r\n<li>Develop historical playing techniques from the study of medieval sources<\/li>\r\n<li>Explore the role of musical instruments in a variety of medieval repertoires, and their possible use in modern medieval ensembles<\/li>\r\n<li>Identify the social status and symbolism of different instruments<\/li>\r\n<\/ul>\r\n<hr \/>\r\n<p>\u00a0<\/p>\r\n<table style=\"border-collapse: inherit; border-spacing: 20; background-color: #ffffff; border: 1px solid #c1c1c1; padding: 20px;\">\r\n<tbody>\r\n<tr>\r\n<td style=\"width: 100%;\">\r\n<p><strong>Dates<\/strong>: July 8-12, 2019<\/p>\r\n<p><strong>Duration<\/strong>: 30 hours divided in 5 days<\/p>\r\n<p><strong>Language<\/strong>: All classes in English<\/p>\r\n<p><strong>Price<\/strong>: 410\u20ac<\/p>\r\n<p><strong>Deposit<\/strong>\u00a0(Required to save the place - non-refundable): 200\u20ac<\/p>\r\n<p><strong>Open to<\/strong>: Instrumentalists (with and without experience with musical instruments), singers, musicologists, organologists, musical instrument makers, philologists, and medievalists in general. Some music experience and reading of modern notation necessary.<br \/><br \/><\/p>\r\n<p><br \/>[button url=\"\/schedule-2019#manuscript\" new_tab=\"\" button_style=\"btn-danger\" button_size=\"btn-mini\"] View schedule \u00bb [\/button] \u00a0\u00a0 [button url=\"\/site\/register\" new_tab=\"\" button_style=\"btn-danger\" button_size=\"btn-mini\"] Register\u00a0\u00bb [\/button]<\/p>\r\n<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\n<p>\u00a0<\/p>\r\n<hr \/>\r\n<h3>Class Descriptions<\/h3>\r\n<p>\u00a0<\/p>\r\n<p>[toggle title=\"The Study of Medieval Musical Instruments: Gathering Data about the Construction, Performance, and Symbolism of Instruments from Medieval Visual and Literary Sources\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/mauricio-molina\/\">Dr. Mauricio Molina\u00a0<\/a><\/strong><br \/><strong>1 session<\/strong><\/p>\r\n<p>Medieval art and literature reveal that string, wind, and percussion instruments were highly appreciated in medieval culture. They were complex objects used not only for the performance of vocal and instrumental repertoires, but also as symbols charged with religious and secular meaning. In this session, students will learn to gather and interpret information about medieval instruments from visual and written sources utilizing art and literary criticism in conjunction with principles of experimental archeology and ethnoarcheology.\u00a0[\/toggle]<\/p>\r\n<p>[toggle title=\"The Notation of Medieval Vocal and Instrumental Music: Modal and Mensural Notations (12<sup>th<\/sup>-14<sup>th<\/sup> centuries)\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/cristina-alis-raurich\/\"><strong>Cristina Al\u00eds Raurich<\/strong><\/a><br \/><strong>4 sessions<\/strong><\/p>\r\n<p>Reading medieval notation is crucial for reconstructing the performance of medieval music. The original notation presents performers and musicologists with a wealth of information that is hardly translatable <strong>into<\/strong> our modern music writing. Its study also helps us to understand compositional process, performance possibilities, and modes and trends of preservation and dissemination. In this class students will systematically learn to decipher both modal and mensural notations and read pieces copied with these forms of music writing from a variety of medieval sources.<\/p>\r\n<p>[\/toggle]<\/p>\r\n<p>[toggle title=\"Accompanying the Medieval Song with Musical Instruments\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/mauricio-molina\/\">Dr. Mauricio Molina\u00a0<\/a><\/strong><br \/><strong>4 sessions<\/strong><\/p>\r\n<p>We learn from medieval art and literature that musical instruments were commonly used to accompany religious and secular monophonic songs during the Middle Ages. But, since there are no indications of how this was done in the surviving music, we need to rely on a wide variety of musical and non-musical sources to reconstruct this performance practice. In this class different elements of instrumental accompaniment that are directly or indirectly described in medieval sources will be analyzed, reconstructed, and put into practice. These elements include the use of preludes, interludes, and postludes, static and movable droning, and intervallic and rhythmic accompaniment, which will benefit not only instrumentalists wishing to create a well crafted historically-based accompaniment, but also singers wishing to enhance their own performance through the use of an instrument for self-accompaniment.\u00a0[\/toggle]<\/p>\r\n<p>[toggle title=\"Ornamenting Medieval Vocal and Instrumental Pieces\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/mauricio-molina\/\">Dr. Mauricio Molina<\/a> \/\u00a0<a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/cristina-alis-raurich\/\">Cristina Al\u00eds Raurich<\/a><\/strong><br \/><strong>4 sessions<\/strong><\/p>\r\n<p>The application of ornamentation was a common procedure in the performance of vocal and instrumental music during the Middle Ages. As indicated in the surviving music and explained in contemporary music treatises, this ornamentation was conducted through the inflection of single pitches, and the substitution or addition of notes or melodic passages. In this class students will analyze information about melodic ornamentation discussed and recorded in medieval theoretical and practical sources, and apply the appropriate ornaments to a collection of pieces following medieval principles.\u00a0[\/toggle]<\/p>\r\n<p>[toggle title=\"Musical Instruments, Voices, and Medieval Tuning (900-1400)\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/cristina-alis-raurich\/\">Cristina Al\u00eds Raurich<\/a><\/strong><br \/><strong>1 session<\/strong><\/p>\r\n<p>Historical tuning and the way musical instruments were tuned in the Middle Ages are essential to an appropriate understanding and reconstruction of the music from that period. Tuning systems directly influence the way music was composed, performed, and perceived. Furthermore, the tuning of musical instruments reveals vital information about performance possibilities and conventions, functions, and taste. In this session students will explore medieval tuning systems (Pythagorean, Mean tone) and their application in musical instruments and their performance. [\/toggle]<\/p>\r\n<p>[toggle title=\"What to Read: Musical Instruments in Medieval Texts\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/raul-lacilla\/\"><strong>Ra\u00fal Lacilla<\/strong><\/a><br \/><strong>1 session<\/strong><\/p>\r\n<p>Valuable information about medieval musical instruments, their use, and their playing techniques can be found recorded directly or indirectly in narrative and lyric poetry, music treatises, moralistic writings, historical chronicles, dictionaries and glossaries. It is, of course, important to know how to find these sources and to read them in an appropriate way to ensure the gathering of effective information.<\/p>\r\n<p>In this session students will identify the types of written sources that contain data about medieval musical instruments. This data will be analyzed in order to generate conclusions about the instruments nomenclature and popular classification, forms of construction and materials, musical and non-musical functions, status and performers, religious and secular symbolism, and playing techniques. [\/toggle]<\/p>\r\n<p>[toggle title=\"Accompanying Troubadour and Trouv\u00e8re Songs with Musical Instruments\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/raul-lacilla\/\"><strong>Ra\u00fal Lacilla<\/strong><\/a><br \/><strong>1 session<\/strong><\/p>\r\n<p>The songs of the troubadours and the trouv\u00e8res are commonly heard in modern live performances and recordings of medieval music. Musical instruments such as the vielle, the harp, the citole, and the lute are commonly used in these renditions to accompany the voice. Nonetheless, instrumental accompaniment has been a matter of debate among scholars since the publication in 1987 of the book \u201cVoices and Instruments of the Middle Ages\u201d written by the musicologist Christopher Page. In this work Page proposes that during the Middle Ages the songs of the troubadours and trouv\u00e8res were classified into a system of styles depending on their type of poetry and music. Instrumental accompaniment was connected to this system: songs that belonged to the \u201cHigh Style\u201d were performed completely a cappella, and pieces that fit into the \u201cLow Style\u201d were sung to musical instruments.<\/p>\r\n<p>In this session the participants will explore:<\/p>\r\n<ul>\r\n<li>The theories about the use of musical instruments prior to the publication of the book \u201cVoices and Instruments in the Middle Ages\u201d (1987)<\/li>\r\n<li>The notions about High and Low styles proposed by Christopher Page.<\/li>\r\n<li>Page\u2019s theory about the use of instruments in relation to style and register<\/li>\r\n<li>Motivations behind the development of such a theory<\/li>\r\n<li>Different points of views about Page\u2019s theories, and presentation of other possibilities developed in more recent years<\/li>\r\n<\/ul>\r\n<p>[\/toggle]<\/p>\r\n<p>\u00a0<\/p>\r\n<hr \/>\r\n<h3>Special Lectures<\/h3>\r\n<p>\u00a0<\/p>\r\n<p>[toggle title=\"Six strings, five fingers, one voice:\u00a0Harp, mode, meter and text in the performance of early medieval epic\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/benjamin-bagby\/\">Benjamin Bagby<\/a> <br \/>1 session<\/strong><\/p>\r\n<p>In northern medieval sources the early harp (also known today as \u2018lyre\u2019) is commonly connected to the performance of narrative and epic song, but also lyrical genres . The reconstruction of these instruments and their use to accompany these song repertoires has been one of the most important undertakings of Benjamin Bagby\u2014director of the ensemble Sequentia and world leading performer of medieval music.<\/p>\r\n<p>In this lecture-demonstration Mr. Bagby will explain how he has recreated the playing techniques of the harp, and how he utilizes the harp to accompany narrative and epic song. It is a work which takes place at the interface of mode, tuning, playing technique, metrical structure and the use of the voice.[\/toggle]<\/p>\r\n<p>[toggle title=\"Inflated Cheeks, Pipes, and Finger Holes: Medieval Wind Instruments and their Performance 1000-1300\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/raul-lacilla\/\"><strong>Ra\u00fal Lacilla<\/strong><\/a><br \/><strong>1 session<\/strong><\/p>\r\n<p>Wind instruments are commonly depicted and recorded in the art and the literature of the Middle Ages. In Romanesque sources horns, hornpipes, transverse flutes, and panpipes are depicted and mentioned with detail. In Gothic sources this <em>instrumentarium<\/em> is enlarged with the addition of bagpipes, tabor pipes, recorders, and trumpets.<\/p>\r\n<p>In this talk, medieval wind instruments will be surveyed and discussed in the context of the sources that record them. There will be also a presentation of their playing techniques, an exploration of their possible repertoire, and a discussion of how these instruments can be used within modern medieval music ensembles.<\/p>\r\n<p>[\/toggle]<\/p>\r\n<p>[toggle title=\"Sliders, Keys, Bellows, and Pipes: The Pipe\u00a0Organ\u00a0in the Middle Ages\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/cristina-alis-raurich\/\">Cristina Al\u00eds Raurich<\/a><\/strong><br \/><strong>1 session<\/strong><\/p>\r\n<p>There is an impressive amount of information about the medieval organ. Medieval sources reveal crucial features about its construction, its symbolism, and its practical and speculative use<em>.<\/em>\u00a0Organs were mainly associated with liturgical and heavenly music, and served as tools for the study of numbers and proportions. Nonetheless, they were also used in non-liturgical circles. The fact that many relevant intellectual figures mentioned or described the\u00a0organ in their writings\u00a0demonstrates its importance in the understanding of medieval music.<\/p>\r\n<p>In this lecture students will explore different types of organs, their function, possible repertoire, and playing techniques. There will also be a demonstration of how different portative organs sound, and how they can be played.<\/p>\r\n<p>[\/toggle]<\/p>\r\n<p>[toggle title=\"Plucking, Scratching, and Bowing: Medieval String Instruments and their Performance\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/marti-beltran\/\"><strong>Mart\u00ed Beltr\u00e1n<br \/><\/strong><\/a><strong>1 session<\/strong><\/p>\r\n<p>During the Middle Ages the family of medieval string instruments was an extensive one. It included plucked string instruments such as the lyre, the citole, the guittern, the psaltery, the rotta, and different types of lutes, and bowed string instruments such as the vielle, the organistrum, the hurdy-gurdy, the giga, and the crowth. These instruments had different functions, were associated to different music repertoires and performers, and were charged with complex religious and secular symbolism.<\/p>\r\n<p>In this session students will explore the form of construction and materials of these instruments, their musical functions, their status and performers, their playing techniques and repertoires, their possible use\u00a0in modern medieval music ensembles, and their symbolism in art and literature.<\/p>\r\n<p>[\/toggle]<\/p>\r\n<p>[toggle title=\"Striking Skin and Metal: Medieval Percussion Instruments and Their Performance\" bgcolor=\"#ffffff\" textcolor=\"\" bordercolor=\"#c1c1c1\" opacity=\"60\"]<strong><a href=\"https:\/\/www.medievalmusicbesalu.com\/speaker-lineup\/mauricio-molina\/\">Dr. Mauricio Molina<\/a><\/strong><br \/><strong>1 session<\/strong><\/p>\r\n<p>Percussion instruments such as round and square frame drums, cymbals, wooden clappers, kettle drums, bells, and jaws harps populate medieval art and literature. These sources reveal that these instruments were played by male and female jongleurs and sometimes by clerics to accompany secular dance songs and processions, and even religious dances and liturgical music.<\/p>\r\n<p>In this lecture students will explore the origins, functions, and performance practice of medieval percussion instruments. Special attention will be payed to the reconstruction of their playing techniques utilizing the study of the medieval sources in combination with the observation of live traditions.<\/p>\r\n<p>[\/toggle]<\/p>","_et_gb_content_width":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v15.8 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>El arte vocal del conductus mon\u00f3dico en el apogeo de la escuela de Notre Dame - nivel 3 - Medieval Music Besal\u00fa<\/title>\n<meta name=\"description\" content=\"Estudia las canciones de Philippe le Chancelier mientras desarrollas una t\u00e9cnica vocal avanzada y adquieres herramientas pr\u00e1cticas para el estudio y la interpretaci\u00f3n de cualquier repertorio cancion\u00edstico medieval.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El arte vocal del conductus mon\u00f3dico en el apogeo de la escuela de Notre Dame - nivel 3 - Medieval Music Besal\u00fa\" \/>\n<meta property=\"og:description\" content=\"Estudia las canciones de Philippe le Chancelier mientras desarrollas una t\u00e9cnica vocal avanzada y adquieres herramientas pr\u00e1cticas para el estudio y la interpretaci\u00f3n de cualquier repertorio cancion\u00edstico medieval.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/\" \/>\n<meta property=\"og:site_name\" content=\"Medieval Music Besal\u00fa\" \/>\n<meta property=\"article:modified_time\" content=\"2021-02-14T15:30:35+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.medievalmusicbesalu.com\/site20\/wp-content\/uploads\/2019\/11\/jasmina-crncic-310-1-150x150.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\">\n\t<meta name=\"twitter:data1\" content=\"49 minutes\">\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/#website\",\"url\":\"https:\/\/www.medievalmusicbesalu.com\/\",\"name\":\"Medieval Music Besal\\u00fa\",\"description\":\"International Course on Medieval Music Performance\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":\"https:\/\/www.medievalmusicbesalu.com\/?s={search_term_string}\",\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"es-ES\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/#primaryimage\",\"inLanguage\":\"es-ES\",\"url\":\"https:\/\/www.medievalmusicbesalu.com\/site20\/wp-content\/uploads\/2019\/11\/jasmina-crncic-310-1.jpg\",\"width\":384,\"height\":310,\"caption\":\"Jasmina \\u010crn\\u010di\\u010d\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/#webpage\",\"url\":\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/\",\"name\":\"El arte vocal del conductus mon\\u00f3dico en el apogeo de la escuela de Notre Dame - nivel 3 - Medieval Music Besal\\u00fa\",\"isPartOf\":{\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/#primaryimage\"},\"datePublished\":\"2021-01-25T17:00:46+00:00\",\"dateModified\":\"2021-02-14T15:30:35+00:00\",\"description\":\"Estudia las canciones de Philippe le Chancelier mientras desarrollas una t\\u00e9cnica vocal avanzada y adquieres herramientas pr\\u00e1cticas para el estudio y la interpretaci\\u00f3n de cualquier repertorio cancion\\u00edstico medieval.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/#breadcrumb\"},\"inLanguage\":\"es-ES\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"item\":{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/es\/\",\"url\":\"https:\/\/www.medievalmusicbesalu.com\/es\/\",\"name\":\"Home\"}},{\"@type\":\"ListItem\",\"position\":2,\"item\":{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/\",\"url\":\"https:\/\/www.medievalmusicbesalu.com\/es\/canto-medieval-nivel-3\/\",\"name\":\"El arte vocal del conductus mon\\u00f3dico en el apogeo de la escuela de Notre Dame &#8211; 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