Información General

• Autores: Tess Knighton (dir.), Emilio Ros-Fabregas (dir.)
• Editores: Reichenberger
• Año de publicación: 2015
• País: Alemania
• Idioma: inglés
• ISBN: 978-3-944244-15-0
• Texto completo no disponible (Saber más ...)

Resumen

• In recent years there has been a resurgence of interest in Spanish music of the Middle Ages and Early Modern period on the part not only of scholars but also of performers and listeners, and not only from inside Spain but also from without. However, the research activity stimulated by this interest has mostly been published in Spanish and within Spain, and has yet to establish a clear narrative in a broader European context. Histories of Western European music still tend to present only brief surveys of musical developments in Spain before 1600, and the extent to which the musics and musicians of the Spanish kingdoms formed an integral part of a wider cultural map has rarely been considered in depth.

  This volume brings together research by scholars, both well established and of younger generations, both Spanish and from all over the world, that offers new perspectives on many aspects of early musical culture in the Peninsula whether regarding the Ars Nova or the Counter-Reformation, music historiography or analysis, early improvisation techniques or imitatio in Renaissance polyphony, and questions of performance practice or ambassadorial musical networks. These essays will thus hopefully make an important contribution to establishing and sustaining a valuable discourse with that broader European context.

Otros catálogos

• Red de Bibliotecas Universitarias (REBIUN)

Listado de artículos

• • Music historiography and reception

    • Higini ANglés's defense of medieval and renaissance sacred music in mid-20th-Century Rome

      Emilio Ros-Fabregas

      págs. 11-38

      

    • Vocal basis in Tientos by Luis Milán and Alonso Mudarra: myth or reality?

      Kateryna Schöning

      págs. 39-55

      

    • Ploblems if authenticity in the works of Tomás Luis de Victoria: some methodological considerations

      Stephanie Klauk

      págs. 56-70

      

  • Sources discovered and revisited

    • A new source of Notre DamenPolyphony from Spain: The Manuscript Toledo, Biblioteca Capitula, 98-28 and its Repertory

      Santiago Galán Gómez

      págs. 71-77

      

    • "Corpus prccessionalum" in Late Medieval Aragon: manuscripts, attributes and special features

      David Andrés Fernández

      págs. 78-87

      

    • Multum in parvo: a 1555 morales processional partbook at Toledo Cathedral in context

      Javier Martín López

      págs. 88-107

      

    • Music books for an iglesia principal y calificada: the 1657 Inventiry of Jaén Cathedral in Context

      Javier Marín López

      págs. 108-162

      

  • Patrons and patronage

    • A new identity for the "Medina" attribution in the Cancioneo Musical de Palacio

      Angela Emanuel

      págs. 163-175

      

    • Power, erudition and musical patronage in the Sixteenth Century: the Borja Bynasty and the Dukedom of Gandia

      Ferran Escrivà-Llorca

      págs. 176-187

      

    • Light of spain, light of the world: invoking St James in Rudolfine Prague

      Erka Supria Honisch

      págs. 188-205

      

    • Juan Bautista comes and conflicting aims of church an State in Early Seventeenth Century Valencia

      Greta Olson

      págs. 206-226

      

  • Liturgy and music

    • "Before retiring at the close of day...": the Hymnary for Compline in the Escorial's Choirbook Collection

      Juan Carlos Asensio Palacios

      págs. 227-242

      

    • A Fifteenth-Century plaintchant office by Hernando de Talavera to commemorate the battle of Salado

      Mercedes Castillo Ferreira

      págs. 243-255

      

    • Music and ceremony in Granada Cathedral dollowing the Council of Trent

      Gonzalo Roldán Herencia

      págs. 256-276

      

  • Music notation and analysis

    • Similarity and contrast in the Cantigas de Santa Maria

      Sarah Johnson

      págs. 277-290

      

    • The case of the disappearing rests: a new look at the spanish In seculum Hocket in Madrid, Biblioteca Nacional de España, MS 20486

      Mary E. Wolinsky

      págs. 291-307

      

    • Duo seraphim clamabant: Homage, "Parody" and Marian Symbolism in a Motet and Antiphon from Renaissance Sevilla

      Rory McCleery

      págs. 308-328

      

  • Theory, teaching and improvisation

    • Music and archirtecture in the Historic Façade of the University of Salamanca

      Amaya Sara García Pérez

      págs. 329-339

      

    • Artes de canto and music teaching in the Renaissance

      Ascensión Mazuela Anguita

      págs. 340-355

      

    • Con ayuda de nuestro señor: teaching improvised counterpoint in Sixteenth Century Spain

      Giuseppe Fiorentino

      págs. 356-379

      

    • Improvisational practice and harmonic composition in Mid-Sixteenth-Century Italy and Spain

      Luca Bruno

      págs. 380-404

      

  • Traditions of performance

    • Non se tenga por maestra cumplida: The Skilful Medieval female performer and her challenge to the social and intellectual spaces dominated by males

      Mauricio Molina

      págs. 405-417

      

    • The spanish prohibition on women listening to music: some reflections on Juan Luis Vives and the Jewish and muslim legacy

      Pilar Ramos López

      págs. 418-432

      

    • Revising Plyphonic Lamentations: composition, transmission and performance practice context

      Sergi Zauner Espinosa

      págs. 433-446

      

    • Alternatives to the "English a cappella heresy": performance practice of Sacred Polyphony in English Domestic Circles based on Elizabethan and Early Jacobean sources

      Héctor Sequera

      págs. 447-462

      

  • By way of Coda : a change of perspective

    • Reflections on our mimetic heritage: from Plato to Louis Vuitton

      Leo Treitler

      págs. 463-488