"Women, Oral Traditions of Music, and Morality: The Iconography of the Sixteenth-Century Spanish Dance", at Medieval and Renaissance Music Conference, Maynooth University, Ireland, 5-8 July 2018 (original) (raw)
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Musical representation in the domestic context in early modern Barcelona
2016
This article aims to offer a fan with the musical representation that can be found in the domestic context in Barcelona in the Modern Age through tapestries and other decorative elements that have been found in inventories, as well as the consideration of social contexts and artistic in which these works were found, as far as possible. The big problem we face is the brief descriptions of the notaries, since most probably the musical iconography that appears in works of art with devotional and biblical themes would have been more common than suggested. The same happens with the mythological scenes, since saints, gods and heroes are usually represented with musical elements, although in few occasions it is mentioned specifically. Other performances also show women playing or listening to a musical instrument. In this article we face the limitations of inventories as a tool for research, especially for the limited number of examples and that is why probably the inventories cause more q...
Spanish painters were inspired by the impressive power of masterpieces studied during their grand tours. Besides the importance of their stay in Italy and careers developed in France, a great number of painters showed a profound interest in the theme of “otherness”, for example Orientalism. Odaliscas, as languid muses, appeared surrounded by iconographic elements that showed a dream of European artists about exotics lives. Many times, musical instruments were included at canvas and drawings to establish a dream of exotic lands, even if they were their own country. From Spanish majas during eighteenth century to dancers and women dressed a la española in nineteenth century, spanish and foreigner painters offered us a way of knowing and feeling the allure of an inspiring image of sensuality in which it was included the musical practice. The image of elegant women surrounded by music, even if this talent or interest could or not be real, allows us to analyze the image of the music as a significant recreation of the female identity and its cultural and social significance through these artistic masterpieces. The image of Spain through the eyes of artists and travelers such as Manet shows a keen interest in founding a different way of living, in which music is a relevant topic. While Spain is revisited, Spanish artists create their own way of looking outside their borders, including music in their artistic experiences.
Painting Music in the Sixteenth Century: Essays in Iconography
The Sixteenth Century Journal, 2003
Contents: Preface Introduction: Some thoughts on musical inscriptions 'Some possible likenesses of Francesco Canova da Milano (1497-1543)' The prodigal son at the whores' music, art, and drama A motet for Machiavelli's mistress and a chanson for a courtesan Mary Magdalene, musician and dancer Mary Magdalene, mondaine musicale Paintings of lady concerts and the transmission of 'Jouissance vous donneray' Musical inscriptions in paintings by Caravaggio and his followers Music in and out of Egypt: a little-studied iconographical tradition Music in majolica Giovanni Girolamo Savoldo's Portrait of a man with a recorder Tintoretto's Music-making women at Dresden Arcadelt's Amor, tu sai in an anonymous allegory The lutenist's hand An iconographical echo of the unwritten tradition in a Verdelot madrigal Two paintings of 'concert scenes' from the Veneto and the Morgan Library's Unique Music Print of 1520 Lassio's La cortesia Voi, Donne, Predicate: a Villanesca printed, penned, plucked and depicted Valid and invalid options for performing frottole as implied in visual sources Addenda et corrigenda Index.
Soloists, Spaces and Performance in Sixteenth-Century Spain
Historical Resonances: Space, Senses and Early Music / Resonancias históricas: espacio, sentidos y música antigua, 2024
Investigating the spaces in which music was performed in Spain during the sixteenth century sometimes requires an even deeper investigation into the nature of musical performance itself. Unlike, for example, music performed as part of religious ritual in buildings that have survived to the present day, the times and places where solo instruments were used are much more difficult to define and trace. Research becomes more than a study of music and architecture, because it also requires consideration of a range of other factors, including social settings (courtly, ecclesiastical, urban, civic, domestic), different physical environments (including indoor and outdoor performances), the socio-economic situations of performers and listeners, the social activities into which musical participation was integrated, the number of listeners, or the time of day. All too often, these questions are not asked, and our knowledge is almost non-existent. Moreover, whether unconsciously or not, modern scholars, commentators and performers tend with a presumed nature to evaluate the music of other eras on the basis of their contemporary notions of what constitutes a performance, especially the modern concert or recital, a social phenomenon of nineteenth-century invention. This paper, which brings together the combined themes of this conference-architectural spaces and new technologies-investigates some of these issues through a computerised exploration of documentary and iconographic sources.
Pure Gold: Golden Age Sacred Music in the Iberian World. A Homage to Bruno Turner, ed. Tess Knighton / Bernadette Nelson. Series De musica 15, Kassel: Reichenberger, 2011. || ABSTRACT: This collection of essays was conceived as an homage to Bruno Turner who has done so much to promote knowledge of sacred music of the Golden Age Iberian world. As choral director, editor and broadcaster, Turner brought this music to the attention of the wider musical public and made it available to choirs all over the world through his specialized publishing firm, Mapa Mundi. Scholars of Iberian sacred music are equally indebted to him for his research, especially on sources, plainchant and liturgy of the Iberian Peninsula and the New World; indeed, he can be considered the eminence grise of musicology in this field. The essays by seventeen scholars, all of whom have been influenced by and are indebted to his life’s work, bring together the latest research and thinking on wide-ranging aspects of sacred music by Iberian and Hispanic American composers in three main areas: sources and repertories; music and liturgy; motets and musical tributes. These contributions, which enrich and deepen current knowledge of Iberian music of the sixteenth and seventeenth centuries, are framed by a Prelude by the composer Ivan Moody and a Postlude that takes the form of an interview between Turner and the writer, critic and translator Luis Gago. || CONTENTS: • A heart of pure gold / Tess Knighton • Ayo visto lo Mappamundi : working with Bruno Turner / Ivan Moody • A sixteenth-century manuscript choirbook of polyphony for vespers at Toledo Cathedral by Andrés de Torrentes / Michael Noone • Manuscripts Oporto, Biblioteca Pública Municipal, MM 40 and MM 76-79 : their origin, date, repertories and context / João Pedro D'Alvarenga • The unica in MS 975 of the Manuel de Falla Library : a musical book for wind band / Juan Ruiz Jiménez • A tale of two queens, their music books and the village of Lerma / Douglas Kirk • The vicissitudes of some printed fragments of polyphony / Juan Carlos Asensio • Music prints by Cristóbal de Morales and Tomás Luis de Victoria in surviving Roman inventories and archival records / Noel O'Regan • Two post-Tridentine lamentation chants in Eastern Spain / Greta Olson • Juan de Esquivel's "Ave Maris Stella" (a 4) : observations on the Spanish polyphonic hymn repertory / Michael B. O'Connor • A polyphonic hymn cycle in Coimbra / Bernadette Nelson • Performance contexts for the Magnificat in the Iberian Peninsula in the sixteenth century / Eva Esteve • "Jesu Redemptor" : polyphonic funerary litanies in Portugal / Owen Rees • Music for the dead : an early sixteenth-century anonymous requiem mass / Tess Knighton • Unedited motets by a little known composer : Alonso Ordóñez / Cristina Diego Pacheco • A sixteenth-century ostinato motet for Barcelona's patroness saint Eulalia / Emilio Ros-Fábregas • Musical tributes to an attributed apparition of the Virgin in Spain and in Mexico / Robert Stevenson Pure passion : a conversation with Bruno Turner / Luis Gago.
Music in Art: International Journal for Music Iconography , 2019
is the continuation of the RIdIM/RCMI Newsletter, volume I (1975) to volume XXII (1997). The journal is published yearly and annual subscription rates are 180forinstitutionsand180 for institutions and 180forinstitutionsand50 for individuals. Articles may be submitted in English, French, Italian, Spanish, or German. Authors are responsible for obtaining permission to publish each of their illustrations and music examples. Music in Art is abstracted in RILM Abstracts of Music Literature; Scopus (Elsevier); Music Periodicals Database; Bibliographie des Musikschriftums (BMS); and cited in Music Index and European Reference Index for the Humanities and Social Sciences (ERIHplus).
Two Centuries of Nun Musicians in Spain’s Imperial City
TRANS - Revista Transcultural de Música, 2011
This article presents the results of a study of archival documentation relating to some one hundred twenty nun musicians known to have received dowry waivers at Toledo convents during the seventeenth and eighteenth centuries. Included are demographic data such as the average age of entrance into religion and the geographic provenance of Toledo's nun musicians as well as family relationships between nun musicians and professional musicians at the Toledo cathedral and elsewhere. The study also considers the circumstances that led some nun musicians to pay off their dowries in order to be able to relieved of their duties as convent musician. / Este artículo presenta los resultados de un estudio de documentación de archivo relativo a unas ciento veinte monjas músicas toledanas durante los siglos XVII y XVIII, todas ellas beneficiarias de una exención de la dote a cambio de su servicio musical en el convento. Se examinan datos demográficos como la edad media de entrada en religión, procedencia geográfica de las monjas músicas, así como su parentesco con los músicos que ejercían su profesión en la catedral de Toledo y en otros centros. Se consideran también los motivos que existían para que algunas monjas músicas decidiesen abonar la dote para así poder ser relevadas de su cargo musical.
Journal of Medieval Iberian Studies, 2013
For historians of medieval Iberian art and architecture, María Rosa Menocal's most important legacy lies in her work's normalization of a culturally decentralized, multidisciplinary frame through which medieval visual objects became part of a broadly shared network of cultural production that was unrestricted by firm boundaries between particular polities or "faith groups." While Menocal was not the first to advance such an approach, her persuasive promotion of it in works such as The Ornament of the World and the co-authored The Arts of Intimacy dovetailed closely with concurrent trends within the discipline of art history: new attentiveness to the variability of the Iberian cultural economy; a renewed concern with questions of reception and meaning; revived emphasis on close, contextual readings; and an openness to extra-disciplinary methodologies. The conceptual and disciplinary flexibility that Menocal's work encouraged now lies at the very heart of current work on Iberian visual culture.