Review of Carlos Martínez Gil: La capilla de música de la Catedral de Toledo. Evolución de un concepto sonoro (original) (raw)
Related papers
2010
Résumé Cette thèse se veut une étude historique et une mise en contexte de l’œuvre de José Antonio Gómez y Olguín (1805-1876), compositeur du début de l’indépendance du Mexique. Elle comprend l’analyse de son manuscrit musical, Ynvitatorio, Himno y 8 Responsorios. Ce manuscrit de plus de 500 folios, découvert en 2005 à l’Archivo Histórico Diocesano de San Cristóbal de Las Casas, Chiapas, et apporté en 1854 au diocèse de Chiapas à partir de Mexico par l’évêque Carlos María Colina y Rubio (1813-1879), demeure la seule copie existante de cette œuvre monumentale pour chœur et orchestre. Œuvrant à une époque tumultueuse sur la scène politique, Gómez a été un musicien reconnu dans son pays. Dans le domaine liturgique, il occupa les postes d’organiste, de compositeur et de chef pour la Cathédrale de Mexico, alors que dans le monde laïc, il fut un musicien polyvalent, comme compositeur, professeur et éditeur de musique. En outre, cette thèse retrace de manière critique l’historiographie musicale mexicaine qui, jusqu’à présent, avait écarté l’œuvre de Gómez, sinon traité comme un compositeur mineur, une sorte de sous-produit de la tradition opératique italienne. Au contraire, nous considérons que ses compositions, dont notamment l’Ynvitatorio, représentent un jalon incontournable d’une période négligée de l’histoire de la musique mexicaine, durant laquelle les différends entre l’Église et l’État ont agi directement sur la vie culturelle du Mexique. Mots clés 19ème Siècle, Le Mexique Indépendant, Église, Musique, Opéra, Chiapas. Abstract This dissertation is a historical and contextual study of José Antonio Gómez y Olguín (1805-1876), a composer of Mexico’s Independent period, and an analysis of his music manuscript, Ynvitatorio, Himno y 8 Responsorios. Gómez’s Ynvitatorio, of over 500 folios, discovered in 2005 at the Archivo Histórico Diocesano of San Cristóbal de Las Casas, Chiapas, is the only extant copy of this monumental work for choir and orchestra brought in 1854 to the diocese of Chiapas from Mexico City by the Bishop Carlos María Colina y Rubio (1813-1879). Gómez, a renowned musician in his own time, a period of political turmoil, worked as an organist, composer and conductor for the Mexico City Cathedral and as a polyvalent musician, teacher, and publisher in the secular world of Mexico City. This dissertation reconsiders the Mexican historiography studies to date which have dismissed the works of Gómez as merely derivative of the Italian operatic tradition. Rather, his compositions, in particular the Ynvitatorio, are considered as complex testimonials to this neglected period of Mexican music history, a time in which tensions between the Church and the State acted directly upon the cultural life in Mexico. Keywords Nineteenth Century, Independent Mexico, Church, Music, Opera, Chiapas.
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.
WOMUNET Workshop 2021. Women and Music Networks in Early Modern Europe: Dialogues between Past and Present Granada, Palacio del Almirante, 16-17 September 2021 Nuestra ponencia ofrece los primeros resultados de un estudio de caso que indaga en la dimensión celebrativa de la música y poesía representadas en las velaciones y profesiones de monjas, aplicado al contexto del Carmelo Descalzo femenino catalán del siglo XVIII. Nuestro objetivo principal es tratar de restituir el contexto de enunciación, ejecución y circulación de villancicos paralitúrgicos y los diferentes agentes concitados (poetas, compositores y músicos profesionales) en una de estas ceremonias, incidiendo en el carácter social de estas solemnidades conventuales. Con tal fin, nuestro estudio parte del uso combinado de fuentes dietarísticas y la revisión de algunos impresos generados en las ceremonias de vestición y profesión de una novicia de familia acomodada catalana, contrastado con el Ciclo poético a los Velos y profesiones recogido en el Cancionero pético manuscrito de las carmelitas desclazas del convento de la Inmaculada Concepción de Barcelona.
This work was carried out under the supervision of Prof. Sarit Shalev-Eyni Acknowledgements This work would not have seen the light of day without the help of several people and organizations to whom I am profoundly indebted. Sarit Shalev-Eyni, who supervised this dissertation from its inception, with a relentless quest for clarity of ideas and an unshakeable and infectious passion for the art in question. My doctoral committee; Yossi Maurey, with his keen eye for detail and methodology, and Lily Arad, with her unparalleled body of knowledge, which she readily and kindly shared in guidance. I also owe a great deal to several researchers in Spain who made sure this deep dive into a foreign land of research did not run out of air. Cristina Bordas Ibáñez at Complutense University in Madrid who supervised my research stay in Madrid and made sure I found an academic home, as she thoughtfully and firmly guided my pursuit of a research question. Ramón Yzquierdo Peiró at the Cathedral Museum at Santiago de Compostela, who patiently and diligently answered my many questions and supplied valuable material and information. Finally, Carlos Villanueva, at the University of Santiago de Compostela, who generously made his time and expertise available on my numerous visits to Santiago, and whose guidance was truly instrumental. I was also fortunate to be a part of the Mandel Scholion Research Center during my studies, which provided not only extraordinary conditions for academic work but also created a collegiate academic environment, a truly invaluable and rare asset. The Erasmus Programme for funding a semester in Madrid and the Robert H. and Clarice Smith Center for their generous travel grant to Santiago de Compostela, both of which allowed me to spend precious time collecting material, consulting with scholars, and traveling to my sites, a priceless experience for art historians. Sue Rosenfeld for her sensitive, insightful, and attentive editing of this work. Finally, my family for their unyielding support of my academic career, and my friends, near and far, who helped in countless and diverse ways, my very own support group, without whom this solitary road would have surely been impassable.
Sur la base de sources d’archives hétérogènes, cet article propose une première synthèse sur la culture musicale des sodalités mariales établies dans les deux anciennes provinces « belges » des jésuites entre le 16e et le 18e siècle. Il s’articule autour de deux axes principaux. Premièrement, il examine et analyse les ressources financières, humaines et matérielles nécessaires au développement et au maintien d’une activité musicale au sein des sodalités jésuites, et révèle par ailleurs les liens étroits de ces congrégations mariales avec les différents acteurs du fait musical à l’échelon local. Deuxièmement, cet article met en évidence deux occasions pour lesquelles il a été fait un usage particulièrement important de musique : les fêtes mariales de l’année liturgique et les assemblées de méditation du carême. Il révèle en outre l’existence de corpus musicaux spécifiques destinés à ces deux types de célébration – pour les fêtes mariales, une production européenne de recueils similaires de litanies en musique, et pour les assemblées quadragésimales, un corpus de pièces musicales sur des textes de la Passion du Christ –, et confronte ces répertoires aux données récoltées dans les documents administratifs, comptables et prescriptifs liés aux sodalités.
12 Spanish Treatises on Musica Practica c. 1480–1525: Reflections from a Cultural Perspective
Companion to Music in the Age of the Catholic Monarchs
I Sertes: Companions to the musical culture of medieval and early modem Europe ; volume l I Includes bibliographical references and index. Identifiers: LCCN 2016032824 (prtnt) I LCCN 2016034648 (ebook) I ISBN 9789004325029 (hardback: alk. paper) I ISBN 9789004329324 (E-book) Subjects: LCSH: Music-Spain-15th century-History and criticism. I Music-Spain-16th century-History and criticism. I Music-Portugal-15th century-History and criticism. Classification: LCC ML315.2 .C66 2017 (print) I LCC ML315.2 (ebook) I DDC 780.946 / 09031-dc23 Le record available at https://lccn.loc.gov/2016032824 Typeface for the Latin, Greek, and Cyrillic scripts: "Brill". See and download: brill.com/brill-typeface.