181 research outputs found
The Written Transmission of Polyphonic Song in Spain c. 1500: The Case of the Segovia
No full textKnighton, Tess. "The Written Transmission of Polyphonic Song in Spain c. 1500: The Case of the Segovia". In: Wolfgang Fuhrmann & Cristina Urchueguía (eds.). "The Segovia Manuscript: A European Musical Repertory in Spain, c.1500". NED - New edition ed., Boydell & Brewer, 2019, p. 231-270. ISBN 978-1-78327-463-5.Peer reviewe
[Compte-rendu d'ouvrage] Tess Knighton, Ascensión Mazuela-Anguita "Hearing the City in Early Modern Europe". Brepols, 2018
No full textCompte-rendu d'ouvrage : Tess Knighton, Ascensión Mazuela-Anguita " Hearing the City in Early Modern Europe. Brepols, 2018International audienc
The songs
No full textThe author exposes and analyzes the four songs attributed to Anchieta, which are representative of the different genres and styles of song that were cultivated in court circles in the years around 1500. All are preserved uniquely in the Palace Songbook (the Cancionero Musical de OPalacio, often abbreviated simply Palacio or CMP).Peer reviewe
El paisatge sonor de les cerimònies de beatificació de Santa Teresa d’Àvila a la Corona d’Aragó, 1614
No full text[EN] The beatification of Saint Teresa of Ávila in October 1614 gave rise to widespread celebrations in many of the cities and towns of the Iberian Peninsula. Printed relaciones describing these celebrations, despite their limitations —in terms of political agenda, propaganda, rivalry and literary style— can nevertheless provide information about musical experience and can help to recreate the ephemeral soundscapes of these events. This article will focus on the ceremonies held in the Crown of Aragon, especially Saragossa and Barcelona, taking into consideration the typology of different musics —heraldic, divine and festive— and factors such as the moment in time, function, dynamic, urban spaces and blurring of boundaries, public (listeners), musical resources and performance practice, repertories and genres, signifiers and associations for listeners, and impact.[CA] La beatificació de Santa Teresa d’Àvila a l’octubre de 1614 va donar lloc a celebracions generalitzades en moltes de les ciutats i pobles de la Península Ibèrica. Les relacions impreses que descriuen aquestes celebracions, malgrat les seues limitacions —en termes d’agenda política, propaganda, rivalitat i estil— literàries, poden, tanmateix, proporcionar informació sobre l’experiència musical i poden ajudar a recrear els paisatges sonors efímers d’aquests esdeveniments. Aquest article se centrarà en les cerimònies celebrades a la Corona d’Aragó, sobretot a Saragossa i a Barcelona, tenint en compte la tipologia de les diferents músiques -heràldiques, divines i festives- i factors com ara el moment en el temps, la funció, els espais dinàmics, urbans i difuminació de fronteres, el públic (els oients), recursos musicals i pràctica interpretativa, repertoris i gèneres, significants i associacions per als oients, i l’impacte.This paper forms part of the research project ‘Urban Musics and Musical Practices in Sixteenth-Century Europe’ (CIG-2012: URBANMUSIC No. 321876), funded by the Marie Curie Foundation and directed by Tess Knighton at the Institució Milà i Fontanals (CSIC) in Barcelona.Peer Reviewe
Tess Knighton, Ascensión Mazuela-Anguita (Hrsg.): Hearing the City in Early Modern Europe, Turnhout, 2018.
No full textMecenazgo, reforma y música en la Catedral de Toledo (1525-1545)
No full textTesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 16/01/2016[EN] The purpose of the present study is to outline the role that two archbishops from Toledo, Alonso de Fonseca (1475-1534) and Juan Pardo Tavera (1472-1545), played as patrons of the arts and legislators of the Church. It presents their personal standpoint, also their relationship with the Holy Cathedral of Saint Mary of Toledo and their influence on the musical and liturgical ceremonies that took place there. The chronological span chosen for this study comprises the period from 1523 to 1545 in which they were both heads of the primatial archdiocese, the highlight of their ecclesiastical careers. The year of Cardinal Tavera's death, marked the beginning of the Council of Trento, at which some of the musical issues that appear in documents of the prelate's time were debated. In order to achieve these goals, the study is divided into two large parts of three chapters each, their structure reflecting the methodology used for each. The first chapter deals with the biography of each archbishop, their relation to music and to the main documents of the present research study, BPR II/1778 and ACT 9. The second chapter presents a critical analysis of these manuscripts in order to establish their authenticity, origin and dating. The third chapter briefly describes the contents of the sources related to the prelates, putting these documents into context in the vast documentary archive generated by the Cathedral and subsequently setting out the purpose of these documents together with the social, aesthetic and political circumstances in which they were produced. The second part mainly analyses the musical contents of the two primary sources whose link to the prelates has been substantiated in the previous section comparing their musical information with other contemporary European sources, so as to assess the significance of this research study. Here the information is divided into another three chapters, the first dealing with the correspondence between acoustics and the use of space and also the change of mentality in regard to this aspect as compared to the Middle Ages. The second chapter focuses on the Cathedral's organizational structure in its search for an ideal sonorous setting for the rituals. Lastly, the purpose of the instruments of which the main goal is to produce sound inside the temple is analyzed.[ES] El propósito de este trabajo de investigación es realizar una aproximación al papel que realizan como mecenas musicales y legisladores de la Iglesia dos arzobispos toledanos: Alonso de Fonseca (1475-1534) y Juan Pardo Tavera (1472-1545). El estudio se lleva a cabo a través tanto del análisis de su ámbito personal como del de su relación con la Santa Iglesia Catedral de Santa María de Toledo, y su ascendiente en las ceremonias musicales y litúrgicas que en ella tenían lugar. La franja cronológica escogida para el análisis comprende la etapa en la que gobernaron la archidiócesis primada: desde 1523 hasta 1545, un periodo que constituyó el punto culminante de sus carreras religiosas. El mismo año en que moría el cardenal Tavera, comenzaron las reuniones tridentinas en las que se debatieron y consideraron algunas de las polémicas musicales que se encuentran presentes en la documentación coetánea a los pontífices. Para la consecución de estos objetivos el estudio se divide en dos grandes bloques separados en tres capítulos cada uno, cuya estructura muestra la metodología utilizada. El primer capítulo del primer bloque se centra en las biografías de los dos arzobispos, su conexión con la música y su relación con la documentación central de esta investigación: los manuscritos BPR II/1778 y ACT 9; el segundo capítulo realiza un estudio crítico de estos textos para establecer su autenticidad, su origen y su datación, y el tercero describe brevemente el contenido de las fuentes relacionadas con los pontífices y las contextualiza dentro del gran fondo documental que genera la catedral toledana, para terminar planteando la función de los textos y las circunstancias sociales, estéticas y políticas en que se produjeron.Peer Reviewe
La tradición monódica hispana en las lamentaciones polifónicas del Renacimiento en España
No full text[EN] Lamentations have been cultivated throughout the history of Western music, from Antiquity to the twenty-first century, yet the study of this genre has been subjected to unequal treatment in the historiography of sacred music. There are still a large variety of questions that have yet to be resolved with respect to the performance of this repertory during the Middle Ages and the Renaissance. Thus, this study of lamentations, in conjunction with the work carried out by other authors into other repertoires1, aims to contribute to a more complete reconstruction of the history of Spanish and Spanish-American music during the period from the Middle Ages to the French Revolution. This PhD thesis analyses the Spanish plainchant tradition in polyphonic lamentations during the Renaissance in Spain, and their relationship to the European context. This study would be impossible to carry out without prior knowledge of plainchant melodies. Almost all Spanish polyphonists used pre-existing plainchants in their polyphonic lamentations, as did other Renaissance composers. What is significant is that the tones the Spanish composers used are different to the recitativelike conduct found in European polyphonic lamentations of the same period. This research is based on the hypothesis that fifteenth- and sixteenth-century Spanish polyphonic lamentations are based on a Medieval monophonic tradition of Hispanic roots, which probably survived from the early Spanish rite. Consequently, before studying the Spanish polyphonic corpus, the textual and melodic features of Medieval Spanish lamentations must be unravelled, as should the survival, transformation and transference of this repertory to the pre- and post- Tridentine liturgical contexts —an important issue that has been little studied and is often misunderstood.[ES] Las lamentaciones son un género cultivado a lo largo de la historia de la música occidental, desde la Antigüedad al siglo XXI, pero su estudio ha sido tratado de un modo desigual en la historiografía musical religiosa. Todavía son muchas y variadas las cuestiones por resolver con respecto a la práctica de este género en la Edad Media y el Renacimiento. Por tanto, esta investigación de las lamentaciones, junto con los trabajos realizados por otros autores en otros repertorios1, tiene por objetivo contribuir a una reconstrucción más completa de la historia de la música española e hispanoamericana en la Edad Moderna. Esta tesis doctoral analiza la tradición cantollanística hispana en las lamentaciones polifónicas del Renacimiento en España, y su relación con el contexto europeo, estudio que no es posible sin un conocimiento previo de las melodías del canto llano. Casi la totalidad de los polifonistas españoles usaron cantos monódicos preexistentes en sus lamentaciones polifónicas, como hicieron también otros maestros renacentistas. Lo significativo es que los tonos empleados por los compositores españoles son diferentes de las melodías monódicas utilizadas en las lamentaciones polifónicas coetáneas europeas. Esta investigación parte de la hipótesis de que las lamentaciones polifónicas españolas de los siglos XV y XVI están basadas en una tradición monódica medieval de raíz hispana, probable pervivencia del antiguo rito hispano. Por consiguiente, antes de estudiar el corpus polifónico español, hay que desentrañar los rasgos textuales y melódicos de las lamentaciones hispanas en la España medieval, y la pervivencia, transformación y transferencia de este repertorio a los contextos litúrgicos pre- y postridentino —un tema importante que ha sido poco estudiado y a menudo mal comprendido.Peer Reviewe
The life of Juan de Anchieta
No full textIn the present attemp to piece together Anchieta's life, and the place of his extant works within it, the author draws as much as possible on primery documentary source material, from payment documents to correspondence by the composer as well as royal ambassadors and members of the royal family he served, and accounts by contemporary chroniclers.Peer reviewe
Making Sense of Omnis/Habenti:An Ars Nova Motet in England
No full textThe motet Omnis/Habenti is found in only one source, the rear flyleaves of the book Oxford, Bodleian e museo 7, ff. 266v–267. As is typical of fourteenth-century insular polyphony, its texts are in Latin, and it carries no direct sign of authorship. The song was chosen as one of twenty-two pieces featured on the Gothic Voices recording Masters of the Rolls: Music by English Composers of the Fourteenth Century, an acknowledgement of the craft of the song as well as its effective sound in performance. Omnis/Habenti has also attracted attention as a song betraying continental influence. The new identification of the tenor of this motet, as outlined in this chapter, offers new possibilities for analysing and interpreting Omnis/Habenti in relation to other fourteenth-century works, especially those by Philippe de Vitry
The motets
No full textAlthough only three motets can be securely attributed to Anchieta, recent studies have served to reinforce the notion that these works marked a turning point in motet composition in the Iberian Peninsula. Since these motets survove in the Segovia manuscript, which is now believed to have been copied between 1498 and 1500, the "turn" of the Iberian motet can be placed with some exactitude in the last years of the fifteenth century, that is, in the first decade or so of Anchieta's extended period of service in the royal chapels.Peer reviewe
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