A3+Clase+5

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 * Historia General del Arte - Año 1**
 * Módulo**: A3- ** Renacimiento **
 * Clase**: 5/11 Fecha: 18 de agosto de 2012

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Introducción
Música

Motete
[] [] Compositor

Dufay
[]

[|Lista de reproducción en You Tube (30 segmentos)]

Isorritmo [] []

Nuper Rosaurum Flores
media type="custom" key="20616419" [] Audio en mp3. Duración: 5'44'' []

Texto en latín y traducción al inglés
Fuente: []
 * ** Latin ** || ** English ** ||
 * Nuper rosarum flores

Ex dono pontificis

Hieme licet horrida

Tibi, virgo coelica,

Pie et sancte deditum

Grandis templum machinae

Condecorarunt perpetim.

Hodie vicarius

Jesu Christe et Petri

Successor Eugenius

Hoc idem amplissimum

Sacris templum manibus

Sanctisque liquoribus

Consecrare dignatus est.

Igitur, alma parens

Nati tui et filia

Virgo decus virginum,

Tuus te Florentiae

Devotus erat populus,

Ut qui mente et corpore

Mundo quicquam exorarit.

Oratione tua

Cruciatus et meritis

Tui secundum carnem

Nati Domini sui

Grata beneficia

Veniamque reatum

Accipere meraeatur.

Amen. || Recently garlands of roses

were given by the Pope—

despite a terrible winter—

to you, heavenly Virgin,

dedicated in a pious and holy fashion,

a temple of great ingenuity,

to be a perpetual adornment.

Today the vicar

of Jesus Christ and of Peter

a successor, Eugenius,

has to this vast

temple with his hands

and holy liquors

deigned to consecrate.

Therefore, sweet parent

of your son, and daughter,

virgin of virgins,

to you the Florentines

devoted as a people,

together in mind and body

on earth, pray to you.

By your prayer

to the crucified and worthy,

your second flesh,

their Lord,

grant us benefit

and receive pardons

for their transgression.

Amen. ||
 * Cantus firmus:

Terribilis est locus iste || Cantus firmus:

Magnificent is this place ||

[] [] []
 * || [[image:http://1.bp.blogspot.com/_EklyoNdviA0/SJzDh7TXSdI/AAAAAAAAAMk/_sR50Fgl_zM/s1600/Florence_Dome.JPG width="509" height="379" link="http://elrincondeprometeo.blogspot.com.es/2008/08/nuper-rosarum-flores.html"]] ||

"En 1973, algunos musicólogos interpretaron la plasmación sonora de las proporciones de la cúpula de Santa María del Fiore mediante las proporciones isorrítmicas del motete, 6:4:2:3, concretamente, las proporciones de la nave (6) con respecto al transepto (4), al ábside (2) y a la elevación de la cúpula (3). De acuerdo con esta hipótesis, Dufay compuso esta pieza basándose en las proporciones de la medida de la cúpula(doble cúpula mejor dicho).

Actualmente, y rompiendo muchos mitos, sabemos que las proporciones de la catedral no son exactamente 6:4:2:3 y que el simbolismo se encuentra en otros aspectos. Dufay, bien informado en teología, derivó las proporciones de una tradición bíblica, según la cual la relación 6:4:2:3 describía las proporciones del Templo de Salomón: el largo total era de 60 codos (un codo son unos 45 centímetros); la "nave", 40; el sancta sanctorum, 20; y la altura, 30. Tanto el templo como sus proporciones permanecieron como símbolo de toda iglesia consagrada de la Cristiandad." Fuente: []

Bibliografía Trachtenberg, Marvin. //Architecture and Music Reunited: A New Reading of Dufay's Nuper Rosarum Flares and the Cathedral of Florence//. Renaissance Quaterly. 2001 [] Fragmento del artículo que intenta reformular las conexiones entre la arquitectura y la música. Síntesis de las hipótesis de Warren (1973) y Wright (1994).

"Warren's architectural analysis may have been wrong, but a different reading of the architecture -- different from both Warren and Wright (and also all other published readings) -- might yield grounds for reestablishing Warren's idea of a connection between music and the built Cathedral. It is this possibility that I want to explore. [3] In doing so my intent is not to undermine Wright's reading but to overlayer it with another, quite compatible interpretation, in which Nuper rosarum flores references not only the imaginary Solomonic Temple but also the real S. Maria del Fiore. Indeed, I propose to go further, by arguing that what we may be dealing with here is not two independent binary relationships -- music to building, and music to biblical/exegetical text -- but a triadic nexus in which all three factors are densely interrelated: the Cathedral directly related, in its morphogenesis, to Wright's textual model, as well as retroactively to the motet, which itself refers to both text and (real and biblical) image. Rather than seeing building and/or text as "causal" models for the music in the manner of Wright and Warren, I suggest instead that a more complex, bidirectional circulation of referentiality may have been at work, producing a complex cultural entity that we might call "word/image/ music." It would comprehend the ubiquitous "word/image" modality of art and architecture, the "music/word" combination of vocal and choral music, and more."

Giotto
Capella degli Scrovegni, Capella della Arena c. 1302-06

Encuentro de San Joaquín y Santa Ana en la Puerta Dorada [] La fuga a Egipto [] El prendimiento de Cristo [] El llanto sobre Cristo muerto [] CapellaPeruzzi, Capella Bardi. Frescos en Santa Croce



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Alegoría del buen gobierno
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Alegoría del mal gobierno
[] ====Efectos del buen gobierno en la ciudad y en el campo ==== Detalles

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La presentación en el templo
[|Ver en Google Art Project] []

Castillo a orillas de un lago
Fuente: []

La Maestà
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<span style="background-color: #ffffff; color: #333333; font-family: 'Arial Unicode MS',Arial,sans-serif; font-size: 13px; vertical-align: baseline;">Guidoriccio da Fogliano
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<span style="background-color: #ffffff; color: #333333; font-family: 'Arial Unicode MS',Arial,sans-serif; font-size: 13px; vertical-align: baseline;">Detalles

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<span style="background-color: #ffffff; color: #333333; font-family: 'Arial Unicode MS',Arial,sans-serif; font-size: 13px; vertical-align: baseline;">Cristo regresando con sus padres
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Cúpula de la catedral
[|Fuente]

Corridoio interno [|Fuente]

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