Composer

:

Francesco Landini

Genre

:

Vocal

Compose Date

:

1350-ca. 1397

Average_duration

:

5:02

'Ama, donna, chi t'ama' is a secular song composed by Francesco Landini, an Italian composer, organist, singer, poet, and instrument maker of the 14th century. The song is part of the Trecento repertoire, which refers to the music of the 14th century in Italy. The composition date of 'Ama, donna, chi t'ama' is uncertain, but it is believed to have been composed in the late 14th century. The song was premiered in Italy during the Trecento period, where it gained popularity among the aristocracy and the common people. The song is composed in the form of a ballata, which is a type of Italian secular song that was popular during the Trecento period. The ballata consists of three stanzas, each followed by a refrain. The refrain is repeated after each stanza, creating a structure of ABBA. The lyrics of 'Ama, donna, chi t'ama' are in Italian and express the theme of courtly love, which was a popular subject in the literature and music of the Trecento period. The song's title translates to 'Love, lady, whoever loves you,' and the lyrics describe the speaker's desire to win the love of a lady. The lyrics also express the idea of the lady's power over the speaker, as she has the ability to grant or deny his love. The melody of 'Ama, donna, chi t'ama' is characterized by its smooth and flowing lines, which are typical of the Trecento style. The melody is also characterized by its use of melismatic passages, where several notes are sung on a single syllable, creating a sense of ornamentation and embellishment. The use of melismatic passages was a common feature of the Trecento style, and it was used to express the emotional content of the lyrics. In conclusion, 'Ama, donna, chi t'ama' is a ballata composed by Francesco Landini during the Trecento period. The song expresses the theme of courtly love and is characterized by its smooth and flowing melody, use of melismatic passages, and its structure of three stanzas followed by a refrain. The song remains a popular example of the Trecento repertoire and is still performed and studied by musicians and scholars today.

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