Elogio de la mujer chiquita Quiero abreviar, señores, esta predicación porque siempre gusté de pequeño sermón y de mujer Amor y de breve razón, pues Cantiga poco y bien dicho queda en el corazón. De quien mucho habla, ríen; quien mucho ríe es loco; hay en la mujer chica amor grande y no poco. Cambié grandes por chicas, mas las chicas no troco. Quien da chica por grande se arrepiente del troco. De que alabe a las chicas el Amor me hizo ruego; que cante sus noblezas, voy a decirlas luego.
Loaré a Cantiga chiquitas, y lo tendréis por juego. Como rubí pequeño tiene mucha bondad, Amor virtud y precio, nobleza y claridad, así, la mujer chica tiene mucha beldad, hermosura Cantiga donaire, amor y lealtad. Son aves pequeñuelas papagayo y orior, pero cualquiera de ellas es dulce cantador; gracioso pajarillo, preciado trinador, Amor ellos es la dama pequeña con amor.
Para mujer Pequeña no hay comparación: En la cama muy loca, en la casa muy cuerda Esto que te aconsejo con Ovidio concuerda y para ello hace falta mensajera no lerda. His was one of the significant reigns moving toward the reunification of Spain, and was so with an emphasis on tolerance and cultural achievement.
Alfonso's work touched nearly every area of human activity, from science to political reform. His only weakness may have been the impracticality of some of his nobler ideas. The extent of Alfonso's role in the production of the Cantigas de Santa María is not entirely known.
Martín Códax : Cantigas de Amigo - A discography
He conceived and supervised the compilation, and it appears that at least some Amor are his. Whether he wrote any of the music Cantiga unknown, but many of the songs in the collection are certainly contrafacta. Some melodies have been identified as those of troubadour or Cantiga songs, and even those of conducti or other scholastic compositions. It is also believed that many are folk tunes Amor for the occasion.
The term "cantiga" simply means a Spanish medieval lyric, something which survives in quantity, Cantiga De Amor, in numerous genres distinguished by the type of narrative. However, most cantigas survive as text only, making the present collection nearly unique for its music.
Moreover, it is one of the largest collections of monophonic vernacular music from the middle ages, and of particular value not only for its inherent quality but also for its notational indications.
The cantiga was first a secular form, but in this massive collection, Alfonso put the form to sacred use. Thus they represent Alfonso's ideals of vernacular language expression and human devotion. Part I lists the all works attributed to Alfonso el Sabio. I am not aware of any major changes in the attribution of those works. As a general rule, Cantigas are listed in the order appearing in the E codex El Códice Esculariense, signatura j.
If those appear in another manuscript but with a different number, this number is cross-referenced to the E ; this applies to To El Códice de la iglesia de Toledo, signaturaalso known as Biblioteca Nacional de Madrid, signatura Number  to  are arbitrary numbers for Cantigas not appearing but identified as separate Cantigas in E or found only in FT or To.
The entry refers to the original recording; this explains why references to same label may be different from other discographies.
It Cantiga also include re-edited material containing tracks not previously released. Cantiga the original material Amor not a CD, the medium is stated between [ Each individual title Amor linked to a descriptive section containing as much informations as possible about the original recording; this description is cross-linked to available CDs actually on the market August in North America or Western Europe.
Great care has been taken to prevent misinformation and a large part of the data originates from records themselves although often not as reliable as it should be. If the recording was not available, the content originates from usual sources periodicals such as The Gramophone [and the Catalogue], Diapason [and the Catalogue], Bielefelder Katalog, Notes, and Fanfare, etc.
Bouquins, Robert Laffond, [GMAB]; although impressive in term of quality and amount of content, readers should be careful about many recording dates listed. Lover, poet, patroness and saint Sinfonye - Stevie Wishart Rec.: Cantigas de Amigo Fin' Amor Rec.: Tranquil medieval music Sirinu Rec.: Iglesias Vilarelle, dir Rec.: Opus [CD] Ave Eva: Texas Early Music ProjectVol.
Historia, Leyenda y Significado de Santiago
The Cantigas depict the Virgin Mary Cantiga a very humanized way, often having her play a role Amor earthly episodes. The authors are unknown, although several studies have suggested that Galician poet Airas Nunes might have been the author of a large number of the Cantiga poems.
King Alfonso X — named as Affonso in the Cantigas — is also believed to be an author of some of them as he refers himself in first person. Support for this theory can be found in the prologue of the Cantigas.
Alfonso X "el Sabio" (1221 - 1284) - A discography of attributed works
Also, many sources credit Alfonso owing to his influence on other works within the poetic tradition, including his introduction on religious Cantiga. Although King Alfonso Amor authorship is debatable, his influence is not. While the other major works that came out of Alfonso's workshops, including histories and other prose texts, were in Castilianthe Cantigas are in Galician-Portuguese, and reflect the popularity in the Castilian court of other poetic corpuses such as the cantigas d'amigo and cantigas d'amor.
The metrics are extraordinarily diverse: The most common are the virelai and the rondeau. The length of the lines varies between two and 24 syllables.