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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.
Música para exequias en tiempo de Felipe IV
Monumentos de la Música Española, volumen 70. Estudio y edición de doce composiciones del Siglo XVII cuyos manuscritos originales se conservan en el Archivo de Música de las Catedrales de Zaragoza. Once de ellas son en latín y para la liturgia de difuntos: un salmo de José Ruiz de Samaniego cuatro motetes de Luis Bernardo Jalón, fray Manuel Correa, Miguel Juan Marqués y Juan Bautista Comes, respectivamente una lección de difuntos atribuida con dudas a Francisco Ruiz Samaniego una misa de requiem de Juan Pérez Roldán la secuencia Dies irae de fray Manuel Correa dos misereres (uno de Miguel de Aguilar y otro de Urbán de Vargas y Juan Baustista Comes) y un fabordón del miserere anónimo. Algunas de estas piezas están relacionadas con exequias reales o con ceremonias fúnebres de gran relevancia. Además, se incluye como última obra editada en el volumen Dioses del Olimpo, venid, con texto en castellano y atribuida a José Ruiz Samaniego, que no pertenece a la liturgia de difuntos, sino que es una composición probablemente destinada a festejar en Tarazona el nacimiento del infante Felipe Próspero (1657), hijo del rey Felipe IV de España y Mariana de Austria.
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Estudios sobre el barroco musical hispánico (en torno a la figura del Dr. Miguel Querol)
Con motivo del fallecimiento reciente del Dr. Querol, medalla de Plata del CSIC y Director del Instituto Español de Musicología, se han recogido una serie de estudios sobre el barroco musical español ,en el que el Dr. Querol fue pionero en el desarrollo de la investigación musicológica en esta materia.
The Circulation of Music in Europe 1600-1900
Whereas before 1700 music was often produced for the local or regional market, from 1700 on music publishers produced music in such a way that it could be sold internationally. During the nineteenth century one can easily speak of mass production in this respect. The studies in this volume approach the topic from a number of different angles. The first four contributions (headed Cities and Countries) study certain places or areas in Europe and analyse the ways in which music was created and moved from one place to another. Manuscripts or prints of music have to be produced and to be sold, and somebody must buy them to bring them to a different place. The studies in the second part (headed Pu...
