mauricio molina | Institute for American University (original) (raw)
Dr. Mauricio Molina is a historical musicologist and medieval music performer dedicated to the study, reconstruction, and performance of music from the High Middle Ages (1000-1300). He is also an established and award-winning professor, writer, and researcher in the fields of medieval music, art, culture, and religion. Dr. Molina is director and faculty of the Medieval Music Besalú-University of Lleida “Specialist Program in Medieval Music Research and Performance,” and dean and professor of the Art and History department of the Institute for American Universities - The American College of the Mediterranean. He is also a member of the Consolidated Medieval Studies Research Group of the University of Lleida. Mauricio has published numerous articles in scholarly journals and specialized anthologies. He is the author of “Frame Drums in the Medieval Iberian Peninsula” (Reichenberger 2010), a book that received the Nicholas Besseraboff Prize of the American Musical Instrument Society as the most distinguished book-length work on organology of 2010. His upcoming book La canción monofónica secular y religiosa en el Occidente medieval (850-1200) will be published by Dairea Ediciones in 2025. Dr. Molina is also the director of the medieval music ensembles Magister Petrus (Spain) and Na rota do peregrino (Portugal).
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Resumen en el arte románico hispano nos encontramos con cierta frecuencia representaciones de muj... more Resumen en el arte románico hispano nos encontramos con cierta frecuencia representaciones de mujeres tocando panderos redondos y cuadrados. un estudio comparativo de estas figuras y la literatura del período sugiere que muchas de ellas plasman directamente prácticas musicales difundidas en la Península Ibérica en los siglos xii y xiii. La elección de representar una realidad familiar parece responder a la necesidad del artista de clarificar el objeto representado y su intérprete para asegurar una lectura simbólica apropiada de estos elementos. La reconstrucción de los aspectos performativos y simbólicos plasmados en estas imágenes estáticas es importante para devolverles la vida, el movimiento y la tensión que percibían en ellas los hombres de su tiempo a través del reconocimiento y la asociación.
Medieval percussion instruments and their use following the sources / Instrumentos de percusión m... more Medieval percussion instruments and their use following the sources / Instrumentos de percusión medievales y su uso según las fuentes
Ph.D.. Dissertation by mauricio molina
Frame drums are percussion instruments comprised of one or two membranes stretched over a light a... more Frame drums are percussion instruments comprised of one or two membranes stretched over a light and shallow frame or hoop. Iconographical and literary sources reveal the widespread use of two different types of frame drums in the medieval Iberian Peninsula: a round version with parchment stretched only on one side of its shell and another of square shape with parchment covering both sides of its body. The names tympanum in Latin, pandero and adufe in Castilian, and bandair and duff in Iberian Arabic were most commonly used to refer to these instruments. From a variety of sources, such as sculptures, illuminations of Christian and Jewish books, Islamic decorative objects, music treatises, dictionaries, and historical chronicles, we learn that these instruments were not only played to provide rhythmic accompaniment to recreational, civic, and paraliturgical music, but were also perceived and used as symbols that stood for or suggested something else that was not intrinsically connected to them.
CD Liner Notes by mauricio molina
Reviews by mauricio molina
Resumen en el arte románico hispano nos encontramos con cierta frecuencia representaciones de muj... more Resumen en el arte románico hispano nos encontramos con cierta frecuencia representaciones de mujeres tocando panderos redondos y cuadrados. un estudio comparativo de estas figuras y la literatura del período sugiere que muchas de ellas plasman directamente prácticas musicales difundidas en la Península Ibérica en los siglos xii y xiii. La elección de representar una realidad familiar parece responder a la necesidad del artista de clarificar el objeto representado y su intérprete para asegurar una lectura simbólica apropiada de estos elementos. La reconstrucción de los aspectos performativos y simbólicos plasmados en estas imágenes estáticas es importante para devolverles la vida, el movimiento y la tensión que percibían en ellas los hombres de su tiempo a través del reconocimiento y la asociación.
Medieval percussion instruments and their use following the sources / Instrumentos de percusión m... more Medieval percussion instruments and their use following the sources / Instrumentos de percusión medievales y su uso según las fuentes
Frame drums are percussion instruments comprised of one or two membranes stretched over a light a... more Frame drums are percussion instruments comprised of one or two membranes stretched over a light and shallow frame or hoop. Iconographical and literary sources reveal the widespread use of two different types of frame drums in the medieval Iberian Peninsula: a round version with parchment stretched only on one side of its shell and another of square shape with parchment covering both sides of its body. The names tympanum in Latin, pandero and adufe in Castilian, and bandair and duff in Iberian Arabic were most commonly used to refer to these instruments. From a variety of sources, such as sculptures, illuminations of Christian and Jewish books, Islamic decorative objects, music treatises, dictionaries, and historical chronicles, we learn that these instruments were not only played to provide rhythmic accompaniment to recreational, civic, and paraliturgical music, but were also perceived and used as symbols that stood for or suggested something else that was not intrinsically connected to them.