È incredibile che una musica composta centinaia di anni fa faccia venire così tanta voglia di vivere e ballare...Siete grandi a trasmettere così tanta passione bellezza cultura e emozioni!!!! 👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
Timestamps: 0:00 - Dance: Nota (instr.) 1:43 - Lai No. 17: D'Amours vient mon chant et mon plour 3:30 - Lai "de victoire", No. 15: Après chou que je vi victoire 7:47 - Estampie (instr.) 11:55 - Lai "Voir disant", No. 8: Tant me sui de dire teüs 16:55 - Dance: Tant me sui de dire teüs (instr.) 18:45 - Lai du "Boire pesant", No. 16: La u jou fui dedens la mer 22:49 - Lai No. 6: Sans cuer sui et sans cuer remain (instr.) 25:18 - Lai "mortel", No. 1: Ja fi canchonettes et lais 29:14 - Lai No. 9: D'Amours viennent li dous penser 33:31 - Lai No. 10: A toi, roi Artus, qui signeur 35:02 - Lai No. 9: Folie n'est pas vaselage 38:35 - Rotta (instr.) 40:39 - Lai No. 5: En morant de si douche mort 44:32 - Lamento de Tristan (instr.) 48:11 - 16 Lai No. 2: Il solaus luist et clers et biaus 55:01 - Lai du chèvrefeuille (instr.)
Always wish i knew what the story was when i look at these images. What's supposed to be happening here, who are these people supposed to be? They are very clearly intended to be specific individuals in most cases. And the artwork is sometimes movingly effective. The one with the king raising his sword, apparently to strike the young man standing before him defenseless, while the unhappy woman tries to restrain him by grabbing his arm and robe. I assume the symbol over the man indicates he is a holy man of some sort, or martyr, and i assume the woman is the kings daughter, not sure who else would be grabbing the kings arm, and the queen i assume would be indicated by a crown. And she just appears quite young.
Interesting music. Thx! Just wondering, from what source and time are the images. It looks like they painted their helmets.... Never thought about that...
@@justforever96 thats not the point. The point is that this habbit is not very often mentioned even though we have at least this historical source for it.
You must listen to more mideast music...I play such music on 2 instruments. The scales used here and the makeup of the scales[distances between tones or intervals is western...none less than 1/2 tone(Western)and 5 tones distance used here too(Western)]. There are some wind instruments that resemble the zurna (Ottoman). There is some melisma used here(a vowel passing through several tones). There is some slight resemblance because of the instruments present. A mideasterner would not consider it similar to what he listens to. The Fifths or 5 tones distance is actually disliked.
To realize gradually the distance between east & west I d say listen to Gregorian chant pure Western then Ambrosian chant that has some traces of Byzantine music and then last to Byzantine music that s eastern and used as basis for Ottoman music. Finally listen to Classical Ottoman music [Sanat Müziği]. Arabic and Persian have less pitches than Byxantine or Ottoman.
The lyre used here is close to Ancient Greek practice...maybe even an ancient mode was used. Thanassis Cleopas can be seen on UA-cam playing ancient Greek therapeutic music...a practice going all the way to Pythagoras in 637 BC...the Ottoman continued in the Darüş Şifa System. All very amazing stuff. And resurrected recently in psychiatric wards in Turkey.
@alexgabriel5423: Well, I didn’t expect such an erudite “straightening-out”! Thank you so much. You effectively explain complicated music history, theory, ideas and instrumentation using few words and in understandable fashion. You also suggest research and “experiential” listening. Thanks for a good path toward to exerciste a better understanding of (ancient?) music. Much appreciated.
![Mountain Realm - Shadowlorn [ Full Album ] - Dungeon Synth](http://i.ytimg.com/vi/pn6-2hrTfjk/mqdefault.jpg)
Stupendi davvero , W l'Europa ma quella cristiana , nn quella di oggi
È incredibile che una musica composta centinaia di anni fa faccia venire così tanta voglia di vivere e ballare...Siete grandi a trasmettere così tanta passione bellezza cultura e emozioni!!!! 👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
Notre traditione chretienne et cavalleresque❤ Dieu et honneur
❤❤❤❤❤
Спасибо за красивую музыку. Всем мира , Всем добра!
Predivna srednjovjekovna glazba! Pozdrav iz Hrvatske! 👍😃
Слушаю и восхищаюсь, храни нас Господь. Белгород, Россия!
Are you still in Belgorod right now? I hope Belgorod will get safer.
@@stlouisix3 Спасибо! Надеемся на милость Божию.
Храни вас Господь.
Вас тоже храни Господь. Вы как во Вторую мировую... Жертвы преступного фашиста(((
Le premier morceau est d'une energie incroyable ; ça pulse ! Tous les modes musicaux sont adaptés pour les passions du corps et de l'esprit.
But the music is not original.
Wunderschön🌞
Alla Francesca: mi banda favorita medieval. La voz de Brigitte es increíble.
❤ Absolutely beautiful ❤
Stvarčina! Odlična glazba!
Que belleza. Muchas gracias por tu trabajo. Vive la France!
Majestic, as everything you upload in this wonderful channel, much appreciated indeed. Shared for sure!
So very lovely 🌹 Thank you
Eccellente!!!❤
Brilliantly wonderful mediæval music 🎶 🎉🎉🎉
Another excellent one. So many variations to the tale, and so much beautiful music =----->
Thank you for sharing with us, this rich and beautiful musical feast. ❤
Avecque grâce et joie
Fantastic! I love it!
Wonderful. Deus Vult
DEUS VULT 🏰⛵🗡️⚔️🏹🛡️
nice music
Timestamps:
0:00 - Dance: Nota (instr.)
1:43 - Lai No. 17: D'Amours vient mon chant et mon plour
3:30 - Lai "de victoire", No. 15: Après chou que je vi victoire
7:47 - Estampie (instr.)
11:55 - Lai "Voir disant", No. 8: Tant me sui de dire teüs
16:55 - Dance: Tant me sui de dire teüs (instr.)
18:45 - Lai du "Boire pesant", No. 16: La u jou fui dedens la mer
22:49 - Lai No. 6: Sans cuer sui et sans cuer remain (instr.)
25:18 - Lai "mortel", No. 1: Ja fi canchonettes et lais
29:14 - Lai No. 9: D'Amours viennent li dous penser
33:31 - Lai No. 10: A toi, roi Artus, qui signeur
35:02 - Lai No. 9: Folie n'est pas vaselage
38:35 - Rotta (instr.)
40:39 - Lai No. 5: En morant de si douche mort
44:32 - Lamento de Tristan (instr.)
48:11 - 16 Lai No. 2: Il solaus luist et clers et biaus
55:01 - Lai du chèvrefeuille (instr.)
Thanks!
11:52 Sublime
💐💐💐💐💐💐💐
👏👏👏🌺🌺🌺🌺🌺🌺
the pure craytur, perfit pitch
Quiero ver los bailarines 🥰
Always wish i knew what the story was when i look at these images. What's supposed to be happening here, who are these people supposed to be? They are very clearly intended to be specific individuals in most cases. And the artwork is sometimes movingly effective. The one with the king raising his sword, apparently to strike the young man standing before him defenseless, while the unhappy woman tries to restrain him by grabbing his arm and robe. I assume the symbol over the man indicates he is a holy man of some sort, or martyr, and i assume the woman is the kings daughter, not sure who else would be grabbing the kings arm, and the queen i assume would be indicated by a crown. And she just appears quite young.
Interesting music. Thx!
Just wondering, from what source and time are the images. It looks like they painted their helmets.... Never thought about that...
From 13. th century.
Well when you think about it, we are talking about a period of almost a thousand years across dozens of cultures. They did lots of things
@@justforever96 thats not the point. The point is that this habbit is not very often mentioned even though we have at least this historical source for it.
Richard Wagner made a remake.
Someone straighten me out, please. This music sounds middle-east influenced. What's the story here, if there is one?
You must listen to more mideast music...I play such music on 2 instruments. The scales used here and the makeup of the scales[distances between tones or intervals is western...none less than 1/2 tone(Western)and 5 tones distance used here too(Western)]. There are some wind instruments that resemble the zurna (Ottoman). There is some melisma used here(a vowel passing through several tones). There is some slight resemblance because of the instruments present. A mideasterner would not consider it similar to what he listens to. The Fifths or 5 tones distance is actually disliked.
To realize gradually the distance between east & west I d say listen to Gregorian chant pure Western then Ambrosian chant that has some traces of Byzantine music and then last to Byzantine music that s eastern and used as basis for Ottoman music. Finally listen to Classical Ottoman music [Sanat Müziği]. Arabic and Persian have less pitches than Byxantine or Ottoman.
The lyre used here is close to Ancient Greek practice...maybe even an ancient mode was used. Thanassis Cleopas can be seen on UA-cam playing ancient Greek therapeutic music...a practice going all the way to Pythagoras in 637 BC...the Ottoman continued in the Darüş Şifa System. All very amazing stuff. And resurrected recently in psychiatric wards in Turkey.
@alexgabriel5423: Well, I didn’t expect such an erudite “straightening-out”! Thank you so much. You effectively explain complicated music history, theory, ideas and instrumentation using few words and in understandable fashion. You also suggest research and “experiential” listening. Thanks for a good path toward to exerciste a better understanding of (ancient?) music. Much appreciated.
All I know is that I can highly recommend Byzantine music, and Orthodox music by extension. Fantastic stuff..
👏👏👏🌺🌺🌺🌺🌺