Spanish Music in the Age of Columbus


Book Description

FOR AID in preparing the present resume of Spanish music to 1530 I am indebted to so numerous a company of friends that I must content myself in this preface with no more than a token alphabetical list. In an earlier article - "Music Research in Spanish Libraries," published in Notes of the Music Library Association, sec. ser. X, i (December, 1952, pp. 49-57) - Richard Hill did kindly allow me to itemize my indebtednesses to the Spanish friends whose names make up two-thirds of the following list. The reader who has seen that article already knows how keenly felt are my gracias. Fernando Aguilar Escrich, Norberto Almandoz, H.K. Andrews, Higinio Angles, Jesus Bal y Gay, Robert D. Barton, Gilbert Chase, R. Thurston Dart, Exmos. Sres. Duques de Medinaceli, Charles Warren Fox, Nicold, s Garcia,]ulidn Garcia Blanco, Juan Miguel Garcia Perez, Santiaga Gonzdlez Alvarez, Francisco Guerrero, Perreal Herndndez, Ma cario Santiaga Kastner, Adele Kibre, Edmund King, Luisa de Larramendi, Pedro Longds Bartibds, M arques de Santo Domingo, M arques de Villa-Alcdzar, J uan M ontejano Chico, B. Municio Crist6bal, Ricardo Nuiiez, Clara L. Penney, Carmen Perez-Ddvila, Gustave Reese, Francisco Ribera Recio, Bernard Rose, Samuel Rubio, Adolfo Salazar, Francisco Sdnchez, Graciela Sdnchez Cerro, Manuel Sdnchez Mora, Alfredo Sixto Planas, Denis Stevens, fase Subird, Earl 0. Titus,]. B. Trend,]ahn Ward, Ruth Watanabe,]. A. Westrup, Franktin Zimmerman




The Royal Chapel in the Time of the Habsburgs


Book Description

Focusing on the royal chapel established by Philip II in Madrid, the essays in this richly illustrated volume offer a series of different perspectives on the development of the main court chapels of Europe. English version edited by Tess Knighton The royal chapel, in Europe as a whole and in Spain in particular, was a cultural institution where court ceremonial, politics, music and the arts were brought together in terms of space and function. The ramifications for the patronage and cultivation of the arts and the dynamic between music and the arts and the concept of kingship form the focus of the text. The phenomenon of groupings of singers, chaplainsand musicians at the service of the different European monarchies is of great significance both for the history of music, and the political and cultural history of the court in general. The royal chapel established by Philip II in Madrid was the central religious and musical institution of royal power until well into the eighteenth century, and using this as a focus, the essays in this richly illustrated volume offer a series of different perspectives onthe development of the main court chapels of Europe. These papers were delivered at the international seminar, 'La Real Capilla de Palacio en la época de los Austrias', under the auspices of the Fundación Carlos de Amberes,Madrid from 14 to 16 December, 2000. The volume is edited by Tess Knighton, Juan José Carreras and Bernardo García García, and translated by Yolanda Acker.




Music at the Aragonese Court of Naples


Book Description

This book deals with various aspects of musical life at the Aragonese court of Naples, from its establishment in 1442 to its demise in the opening years of the sixteenth century. An opening chapter gives a general historical-cultural background of the court. The author then discusses the royal chapel and its most important members, as well as other important musicians who were in Naples but who had no known ties with the court in an official sense. He goes on to describe the various types of secular music at the court and the music manuscripts compiled in and around Naples. The importance of the book lies in its attempt to synthesize all that is known about music at Naples - both from discovered archival sources and from the scholarly literature of specialized studies. The second part of the book contains a collection of 18 pieces, edited from Neapolitan manuscripts, which illustrate the earlier chapter on the repertory.




The Music of Juan de Anchieta


Book Description

This book explores Juan de Anchieta’s life and his music and, for the first time, presents a critical study of the life and works of a major Spanish composer from the time of Ferdinand and Isabel. A key figure in musical developments in Spain in the decades around 1500, Anchieta served in the Castilian royal chapel for over thirty years, from his appointment in 1489 as a singer in the household of Queen Isabel, and he continued to receive a pension from her grandson, the Emperor Charles V, until his death in 1523. He traveled to Flanders in the service of the Catholic Monarchs’ daughter Juana, and was briefly music master to Charles himself. Anchieta, along with Francisco de Peñalosa, his contemporary in the Aragonese chapel, and a few others, was a key figure in the rise of elaborate written polyphony in the Spain of Josquin’s time. The book brings together two of the leading specialists in Spanish music of the era in order to review and revise the rich biographical material relating to Anchieta’s life, and the historiographical traditions which have dominated its telling. After a biographical overview, the chapters focus on specific genres of his music, sacred and secular, with suggestions as to a possible chronology of his work based on its codicology and style, and consideration of the contexts in which it was conceived and performed. A final chapter summarizes his achievement and his influence in his own time and after his death. As the first comprehensive study of Anchieta’s life and works, The Music of Juan de Anchieta is an essential addition to the history of Spanish music.




The Concise Garland Encyclopedia of World Music: Africa ; South America, Mexico, Central America, and the Caribbean ; The United States and Canada ; Europe ; Oceania


Book Description

The critical importance of past for the present--of music histories in local and global forms--asserts itself. The history of world music, as each chapter makes clear, is one of critical moments and paradigm shifts.




The Invention of Latin American Music


Book Description

The ethnically and geographically heterogeneous countries that comprise Latin America have each produced music in unique styles and genres - but how and why have these disparate musical streams come to fall under the single category of "Latin American music"? Reconstructing how this category came to be, author Pablo Palomino tells the dynamic history of the modernization of musical practices in Latin America. He focuses on the intellectual, commercial, musicological, and diplomatic actors that spurred these changes in the region between the 1920s and the 1960s, offering a transnational story based on primary sources from countries in and outside of Latin America. The Invention of Latin American Music portrays music as the field where, for the first time, the cultural idea of Latin America disseminated through and beyond the region, connecting the culture and music of the region to the wider, global culture, promoting the now-established notion of Latin America as a single musical market. Palomino explores multiple interconnected narratives throughout, pairing popular and specialist traveling musicians, commercial investments and repertoires, unionization and musicology, and music pedagogy and Pan American diplomacy. Uncovering remarkable transnational networks far from a Western cultural center, The Invention of Latin American Music firmly asserts that the democratic legitimacy and massive reach of Latin American identity and modernization explain the spread and success of Latin American music.




The Musical Heritage of Al-Andalus


Book Description

The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expulsion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Catalan, Castilian, Hebrew, and Latin. It is also informed by research the author has conducted on modern Andalusian musical traditions in Morocco, Algeria, Tunisia, Egypt, Lebanon and Syria. While the cultural achievements of medieval Muslim Spain have been the topic of a large number of scholarly and popular publications in recent decades, what may arguably be its most enduring contribution – music – has been almost entirely neglected. The overarching purpose of this work is to elucidate as clearly as possible the many different types of musical interactions that took place in medieval Iberia and the complexity of the various borrowings, adaptations, hybridizations, and appropriations involved.




Devotional Music in the Iberian World, 1450-1800


Book Description

From the fifteenth century to the beginning of the nineteenth century, devotional music played a fundamental role in the Iberian world. Songs in the vernacular, usually referred to by the generic name of 'villancico', but including forms as varied as madrigals, ensaladas, tonos, cantatas or even oratorios, were regularly performed at many religious feasts in major churches, royal and private chapels, convents and in monasteries. These compositions appear to have progressively fulfilled or supplemented the role occupied by the Latin motet in other countries and, as they were often composed anew for each celebration, the surviving sources vastly outnumber those of Latin compositions; they can be counted in tens of thousands. The close relationship with secular genres, both musical, literary and performative, turned these compositions into a major vehicle for dissemination of vernacular styles throughout the Iberian world. This model of musical production was also cultivated in Portugal and rapidly exported to the Spanish and Portuguese colonies in America and Asia. In many cases, the villancico repertory represents the oldest surviving source of music produced in these regions, thus affording it a primary role in the construction of national identities. The sixteen essays in this volume explore the development of devotional music in the Iberian world in this period, providing the first broad-based survey of this important genre.




Towards a Global Music History


Book Description

How do we explain the globalized musical world in which we find ourselves in the early 21st century and how did we arrive here? This extraordinary book outlines an understanding of the human musical story as an intercultural—and ultimately a transcultural—one, with travel and trade as the primary conditions and catalysts for the ongoing development of musical styles. Starting with the cultural and civilizational precedents that gave rise to the first global trading and travel network in both directions across the Afro-Eurasian Old World Web in the form of the Silk Road, the book proceeds to the rise of al-Andalus and its influence on Europe through the Iberian peninsula before considering the fusion of European, African and indigenous musics that emerged in the Americas between c1500-1920 as part of Atlantic culture and the New World Web, as well as the concurrent acceleration of globalism in music through European empires and exoticism. The book concludes by examining the musical implications of our current Age of Instantaneous Exchange that technology permits, and by revisiting the question of interculturality and transculurality in music.