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Music in Spain During the Eighteenth Century
Traditional musicology has tended to see the Spanish eighteenth century as a period of decline, but this 1998 volume shows it to be rich in interest and achievement. Covering stage genres, orchestral and instrumental music and vocal music (both sacred and secular), it brings together the results of research on such topics as opera, musical instruments, the secular cantata and the villancico and challenges received ideas about how Italian and Austrian music of the period influenced (or was opposed by) Spanish composers and theorists. Two final chapters outline the presence of Spanish musical sources in the New World.
Transatlantic Malagueñas and Zapateados in Music, Song and Dance
Transatlantic Malagueñas and Zapateados is an exploration of two fandango dances, recording the circulations of people, imagery, music, and dance across what were once the Spanish and Portuguese Empires. Although these dance-musics seem to be mirror images, the unbreachable space between them reflects the political fault-lines along which nineteenth-century musical populism and folkloric nationalism extend into present-day debates about globalization, immigration, neoliberalism, and neofascism. If malagueñas are a fantastic incarnation of Spanishness, caught like a fly in amber by their anachronistic references to a fraught imperial past, noisy and raucous zapateado dances cut toward the future. Inherently marked by European conventions of zapatos (shoes), zapateados are nonetheless shaped by Africanist and Native American footwork traditions. In these Afro-Indigenous mestizajes, not only are European aesthetic values reordered and resignified, but the Catholic catechism which indoctrinated the New World yields to alternate spiritual systems springing out of a culture of resistance to European domination.
Daring Adaptations, Creative Failures and Experimental Performances in Iberian Theatre
In this volume, we are particularly interested in approaching theatre and performance as a dynamic and evolving practice of continuous change, regeneration and cultural mobility. Neither the dramatic texts nor their stage versions should be viewed as finished products but as creative processes in the making. Their richness lies in their unfinished and never-ending potential energy and their openness to constant revision, rehearsal, revival, and collective enterprise. This edited collection aims to create a dialogue on the artistic processes implicated in the various ways of working with the play text, the staging practices, the way audiences and critical reception can impact a production, and the many lives of Iberian theatre beyond the page or the stage. That is, its cultural and social legacies.
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The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style
W. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. Scarlatti occupies a position of solitary splendour in musical history. The sources of his style are often obscure and his immediate influence is difficult to discern. Further, the lack of hard documentary evidence has hindered musicological activity. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti's position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind. A principal task of this book is to remove the composer from his critical ghetto (however honourable) and redefine his image. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style.
Tratado fundamental de la música
José Teixidor es considerado como el primer historiador de la música española. La presente edición crítica se basa en la obra original en dos volúmenes del autor: un ejemplar conservado en la Biblioteca Pública Episcopal del Seminario de Barcelona (textos mecanografiados; Ms. 96), y un segundo manuscrito (M 1621), reproducido en esta edición de forma facsimilar, que contiene todos los ejemplos musicales a los que remite el primer volumen, procedente de la Biblioteca Nacional de Catalunya. La simbiosis de fuentes originalmente conservadas de forma dispersa que se concreta en esta edición, facilita al interesado la conjunción de la obra final, teórico-práctica, concebida por Teixidor.
Música religiosa en la Castilla rural de los siglos XVIII y XIX
La presente tesis doctoral es un estudio musicológico detallado de la cultura musical en la principal institución religiosa de una villa castellana. En la iglesia de los Santos Juanes de Nava del Rey (Valladolid), pese al tamaño relativamente pequeño de la localidad, no sólo existió una capilla de música estable, sino que también ha sobrevivido un amplia riqueza de material, consistente en varios cientos de partituras y diferentes tipos de fuentes de archivo En la primera parte se establecen los métodos y objetivos del trabajo, situándolo en el contexto general de la investigación de la historia de la música religiosa en España durante el período elegido. Se describe el contexto socio- cultural e histórico, así como el patrimonio artístico de la villa. También se reconstruye la organización y base de financiación de la capilla de música, realizando un listado de sus integrantes.
Francisco Guerrero Opera Omnia
Monumentos de la Música Española, volumen 56. Es el décimo volumen de la Opera Omnia de Francisco Guerrero (Sevilla, 1528-Sevilla, 1599). Contiene estudio de las fuentes del Magnificat polifónico del Siglo xvi en España, descripción de las fuentes manuscritas e impresas del Magnificat de Francisco Guerrero y edición de dieciséis Magnificat de este compositor en los ocho modos eclesiásticos, con series para los versos impares y versos pares dentro de cada modo.
A Belén 2004, nº 1
Revista anual de la Asociación de Belenistas de Guadalajara
