Books by Santiago Ruiz Torres
E-Prints Complutense (Universidad Complutense), 2013
This doctoral thesis attempts to outline an overview of liturgical monophony between the fifteent... more This doctoral thesis attempts to outline an overview of liturgical monophony between the fifteenth and the nineteenth century. For its realization we have based mostly on the study and analysis of its sources; in our case, represented by the plainchant choirbooks of the Segovia cathedral. The second, and no less important, source is the contemporary musical literature. In order to present it as rigorously and comprehensively as possible, we employ an interdisciplinary method based on the observation of archival, historiographical and liturgical-musical sources. Its development is structured in two parts, a division following the number of volumes. The first part is, in essence, the exposure of the subject, while the second includes the catalogue and indexes of the Segovian books as well as a pair of appendixes. The main development is articulated, in turn, in four parts. In the first one, we establish the historiographical, social and cultural coordinates which influenced the elaboration of the choral collection. The Church of Segovia, as owner of the books, is the focus of special attention. The second and the third part are dedicated respectively to the analysis of the corpus of common plainsong and the canto fratto; that is, the plainchant with mensural elements. Throughout its exposition we examine both repertoires from multiple perspectives: terminological approach, musical notation, melodic transmission, modal behaviour and new composition, among others. Finally, the fourth part presents as leitmotiv the performance of the liturgical chant in the period under investigation. Within it, we analyze a series of variables with a deep impact on the actio canendi: the singers responsible for its intonation, the acoustic and space dimension of the choirbooks, the care of the sacred text, the rhythmic practice and the instrumental accompaniment of the monophony.
Articles by Santiago Ruiz Torres
Miscel·lània litúrgica catalana, 2023
According to the legendary tradition, Saint Indaletius was one of the Seven Apostolic Men sent fr... more According to the legendary tradition, Saint Indaletius was one of the Seven Apostolic Men sent from Rome to evangelise Spain. Initially buried in Andalusia, his body was solemnly received at the Monastery of San Juan de la Peña on 28 March 1084, where he was considered as protector and patron saint. Two versions are known of the liturgical office of the translation of his relics, one based on the repertory of the common of a confessor while the other is a new composition in verse. The first version, which is a priori the oldest, is found only in an early 12th-century antiphonary de Sanctis from the Convent of Santa Cruz de la Serós, while the second version is located in four sources: in addition to the aforementioned antiphonary, it is also to be found in three breviaries of San Juan de la Peña, now kept in the Royal Library of the Monastery of San Lorenzo de El Escorial (manuscripts L.III.3 [12th c. ex.], P.III.12 [14th c.] and f.IV.26 [ca. 1400]). The office has previously been studied from the hagiographic and historic perspectives and its texts have even been published. The aim of this paper is to present the heretofore unknown liturgical-musical criteria which guided its composition
Analecta Bollandiana, 2022
The Iberian Christian kingdoms adopted the Roman rite at the end
of the 11th cent. This had two s... more The Iberian Christian kingdoms adopted the Roman rite at the end
of the 11th cent. This had two short-term effects on the liturgy of the saints. On the one hand, it promoted the introduction of many French saints’ cults derived from the use of manuscripts which served as models for the configuration of the Romanum officium. On the other hand, it caused a severe setback in the cult of the Iberian saints as the great majority of them were lacking proper formularies in the newly imported
books. The process of romanization of the saints in medieval Iberia is still little understood, despite its great significance for the study of the liturgy at that time. This essay aims to shed light on this lacuna, taking the Benedictine monastery of San Juan de la Peña as a reference point. Fortunately, some extant liturgical witnesses to the Sanctorale are linked to this famous Pyrenean monastery, which also cover a wide chronological arc from the 12th to the 15th cent. The research carried out is divided into two phases. In phase 1, we analyse these sources, correcting the erroneous adscription to San Juan de la Peña of the El Escorial Breviary L.III.4. In phase 2, we contextualise the tradition of the cult of saints at San Juan de la Peña, comparing its calendar to those of other peninsular Benedictine and diocesan churches of Aragon.
Hispania Sacra LXXIV/149, 2022
From the Late Middle Ages up to the Tridentine reform, Hispanic churches had the tradition of sin... more From the Late Middle Ages up to the Tridentine reform, Hispanic churches had the tradition of singing the Mass alleluia in the second Vespers service of the major solemnities of the liturgical year. In such occasions, the alleluia replaced mainly the hymn, and more exceptionally, the responsory, the versicle or the sequence. This remarkable peculiarity, hitherto hardly known, raises several questions that call for further analysis: What was the origin of this tradition? To what degree was it widespread throughout the Iberian geography? Likewise, which were the festivities that prescribed the performance of the Mass alleluia at Vespers? Is there stability in its choice, as well as in the way they are combined with other liturgical items? What peculiarities does the intonation of these alleluias entail? And finally, how is this tradition reflected in sources? This article aims to answer these questions enabling a better understanding of the Hispanic late medieval and early modern Christian ritual. To this end, a large number of Spanish liturgical testimonies from the 11th to 16th centuries will be referenced. Furthermore, the liturgical reasons that prompted this singular transfer, as well as the factors that contributed to its transmission in the Iberian context, will be discussed.
Música y Educación 63, Oct 2005
In spite of the role of children choirs is not well known and appreciated nowadays, it has been f... more In spite of the role of children choirs is not well known and appreciated nowadays, it has been fundamental in Music and human education of a lot of musicians. This article presents the Santa Cruz del Valle de los Caídos Children Choir, which will be 50 years old soon. The history of this group is explained as well as the music training of its students, who have also contributed with their opinions. Finally, the author details some of the main problems this type of choir has, particularly this one, and tries to give some solutions to them so that its life will be perpetuated along this century.
Anuario Musical, 2021
The composition of versified offices represents one of the
forms of liturgical expression most cl... more The composition of versified offices represents one of the
forms of liturgical expression most closely linked to the late Middle
Ages. Knowledge of the genre is, however, far from complete,
partly because of the scarce attention that late plainchant has received
until recently, but also because of its strong localism. In
fact, many of these offices were composed as a vehicle to honor the
patron saint of a particular church or monastery. In the long run,
this has resulted in their sources being limited and scattered, often
without musical notation. These pages aim to study the rhymed
office of Saint Froilanus (832-905), who was a hermit and, later,
bishop of Leon. Its interest lies primarily in its preservation in two
different musical versions: the first and most important, which
transmits the complete office, is in a breviary de Sanctis from the
13th and 14th centuries preserved in the Archive of the Cathedral
of Lugo; the other musical version, with five responsories, is in the
processional ms. 9 of the Archive of the Cathedral of Leon, copied
at the end of the 14th century. Besides the edition of the texts and
some scattered information, nothing is known about this repertoire.
Through its detailed analysis we intend to learn what were the
technical and aesthetic guidelines followed in its composition, as
well as how it adapted to the most primitive Gregorian corpus. The
evidence gathered will allow us to get closer to the chronological
dating of the office and the possible geographical origin of its composers.
Revista Portuguesa de Musicologia, 2018
P-Ln Alcobaça 334/CCCII (c. 1175) is an outstanding example of a Portuguese manuscript from the M... more P-Ln Alcobaça 334/CCCII (c. 1175) is an outstanding example of a Portuguese manuscript from the Middle Ages. This is principally because it contains a formidable bibliographical corpus associated with the cults of Martin of Tours (ff. 1r-103v) and St James the Greater (ff. 103v-215v). Contrary to what might be expected, Alc. 334 has been little studied, and therefore still raises many questions: Where was it copied? In what circumstances did it arrive in Alcobaça? When did this happen? Focusing on its Jacobean content, what degree of affinity does it show with the Codex Calixtinus? And what distinguishes it from the Compostellanus? From a musicological perspective, Alc. 334 transmits the texts of two chants in honour of St James: the processional hymn Salve festa dies Iacobi and the conductus Ad honorem regis summi. Since the Codex Calixtinus incorporates a significantly higher number of musical pieces, what reasons could have lain behind such a restricted selection? What was its intention? This article aims to respond to these questions from a multidisciplinary approach encompassing fields of study such as historiography, liturgy, philology and palaeography, in addition to musicology, with the purpose of contributing to a better knowledge of the manuscript. Amongst its main conclusions, it will show the close link that joins Alc. 334 with the Legendarium de Sanctis per circulum anni (Alc. 418 to 422).
El Centro de Documentación Patrimonial de la Universidad de Talca conserva un corpus musical en g... more El Centro de Documentación Patrimonial de la Universidad de Talca conserva un corpus musical en gran parte desconocido hasta la fecha que da cuenta de la actividad musical llevada a cabo por los religiosos franciscanos del Colegio de Misioneros de Chillán (Región de Ñuble-Chile) mayoritariamente durante los siglos XIX y XX. El artículo ofrece una descripción de la música conservada de la primera de esas centurias, junto a su contexto histórico y prácticas en las que estuvo inserta, así como sus peculiaridades codicológicas y litúrgicas.
Miscel·lània Liturgica Catalana, 2018
Amidst its mediaeval documentation, the collegiate church of Santa María de Alquézar, in the Somo... more Amidst its mediaeval documentation, the collegiate church of Santa María de Alquézar, in the Somontano de Barbastro region, holds nearly thirty fragments of codices from the 12th-17th centuries which have gone unnoticed to researchers. Their value stems from the special historical and liturgical aspects of this church in the central Pyrenees, including its intermediate location between the bishop sees of Roda de Isábena-Barbastro and Jaca-Huesca, and its subordination to the bishopric of Tortosa between the 12th and 13th centuries. Consequently, the analysis of these fragmenta codicum allows them to be positioned with respect to these three poles of influence and also sheds light on the question of a possible irradiation, in the area of Upper Aragon, of the liturgical tradition of Saint-Ruf d’Avignon, linked to Tortosa cathedral.
Nassarre, 2018
The Diocesan Archive of the Cathedral of Barbastro (Huesca) holds with the signature «Carpeta nº ... more The Diocesan Archive of the Cathedral of Barbastro (Huesca) holds with the signature «Carpeta nº 66» a select collection of 13 liturgical fragments from the 11th to the 16th centuries hitherto neither catalogued nor studied. Its value lies mainly in two factors: on the one hand, its location in a border area between Aragon and Catalonia allows to examine liturgical traditions rooted there. On the other, we pinpoint two monastic sources associated respectively with San Juan de la Peña and an unidentified monastery settled in the County of Ribargorza. Likewise, from a musicological perspective it is worth mentioning the location of one unknown chant, as well as other pieces with a restricted diffusion. Thus, following an interdisciplinary method, we present the catalogue and study of these 'fragmenta codicum' with the incentive to include their images.
Ecclesia Orans, 2018
The hymn Te matrem (dei) laudamus represents, by far, the most famous adaptation of the hymn Te d... more The hymn Te matrem (dei) laudamus represents, by far, the most famous adaptation of the hymn Te deum laudamus. With references documented since the 12th century, the chant was widely spread throughout Europe in the 15th and 16th centuries due to the growing devotion to the Virgin Mary. However, its dissemination through liturgical and extraliturgical sources is still poorly understood. These pages provide for the first time a fairly complete picture of the penetration of the hymn along the Iberian Peninsula. Among the most relevant contributions, we report a list of 21 Iberian testimonies with the chant – both diocesan and monastic –, mostly unknown; likewise, a critical edition with five versions of the Te matrem is presented, one of them hitherto unpublished. These new evidences are accompanied by a parallel reflection with the aim of responding to questions of suggestive analysis; among them, the reasons for explaining the introduction and dissemination of the hymn into the Iberian geography, its degree of adaptation to the liturgical framework and the presence of possible Hispanic expressions in its verses.
Medievalia, 2017
This study presents for the first time the catalogue and analyse of a valuable collection of 44 l... more This study presents for the first time the catalogue and analyse of a valuable collection of 44 liturgical fragments (11th-16th centuries), located in various archives in the province of Guadalajara. Altogether, the sources offer a wide overview of the worshipping activity carried out in the Diocese of Sigüenza from its restoration, between 1121 and 1124, until the Council of Trent. The importance of this Church in the Iberian context lies in its frontier position between Aragon and Castile, which would make it in a privileged witness of the confluence of diverse liturgical and musical practices. The methodological approach proposed
here presents a marked interdisciplinary aspiration including diff erent fi elds of study such as: musicology, liturgy, history or palaeography. Among the most outstanding elements of this fragmentary corpus is the discovery of an antiphonary with a proper Office of St James the Apostle, dated ca. 1100, and therefore, in an earlier version than the Codex Calixtinus, with which it shares interesting textual and melodic concordances. The other great point of attraction is a bifolio of polyphonic music from the beginning of the 14th century, with excerpts of four compositions in Franconian notation.
Plainsong & Medieval Music, 2017
The recent discovery of several fragments of an antiphoner in the Archive of the Cathedral of Sig... more The recent discovery of several fragments of an antiphoner in the Archive of the Cathedral of Sigüenza (Guadalajara) with repertoire for the feast of St James the Apostle sheds new light on the origin of the monophonic chants of the Codex Calixtinus. The dating of the fragments to c.1100 demonstrates the existence of an officium proprium prior to the writing of the famous Compostelan codex, a fact hitherto unknown. Part of the repertoire collected in the Sigüenza manuscript, particularly the antiphon Honorabilem eximii and the responsory Alme perpetue, evidence textual and melodic concordances with Calixtinus. Moreover, some chants in the Sigüenza Antiphoner, and not in Calixtinus, were widely known across the Iberian Peninsula before the Tridentine liturgical unification. This evidence suggests that the compilers of the monophonic Office in the Codex Calixtinus knew the version transmitted in the recently discovered fragments. The consequent remodelling of the St James Office was probably due to the fact that it incorporated many legendary elements. At the beginning of the twelfth century, the Church of Compostela was actively seeking to legitimise its apostolicity, which Rome seriously questioned. To do so, it was essential to offer a liturgical corpus of proven authority, based on the Bible and the patristic literature.
Neuma. Revista de Música y Docencia Musical, 2017
RESUMEN El proyecto editorial promovido por José Doblado para imprimir el repertorio de canto lla... more RESUMEN El proyecto editorial promovido por José Doblado para imprimir el repertorio de canto llano en formato grande de libro de coro, constituye uno de los hitos de la imprenta musical en España entre finales del siglo XVIII y principios del XIX. Aunque no llegó a culminarse por diversas causas de índole política y económica, al menos pudo ver la luz uno de sus volúmenes: el gradual de la Misa, con cantos desde Adviento hasta las ferias posteriores al Miércoles de ceniza. Tras esbozar sus características materiales y formas musicales y textuales empleadas, centraremos el análisis en cuatro muestras significativas: los cuatro introitos de los domingos de Adviento. En primer lugar, advertiremos la vinculación de sus redacciones con la tradición melódica aquitana, importada desde el Mediodía francés. A fin de acreditar tal filiación, cotejaremos un amplio elenco de fuentes fechadas entre los siglos X y XII, las cuales vienen a representar la expresión vocal de distintos espacios geográficos europeos. Seguidamente, acometeremos un estudio de cariz melódico y modal que posibilite desentrañar los rasgos más característicos de las piezas, contextualizándolos de forma paralela con el trasfondo histórico-cultural de la época. Para la argumentación de este último apartado será de especial relevancia las aportaciones de la tratadística coetánea y la consulta de ediciones de canto reformado como el gradual de Medicea. ABSTRACT The editorial project promoted by José Doblado to print the plainchant repertoire in large choirbook format is one of the milestones of printed music in Spain between the end of the 18th and early 19th centuries. Although it was not completed for political and economic reasons, at least the author could publish one volume: the Mass Gradual with chants from Advent until the ferias after Ash Wednesday. After outlining its material features and musical and textual forms, we will focus on the analysis of four significant examples: the four introits of the Sundays of Advent. Firstly, we will be point out the connection of these chants with the Aquitanian melodic tradition imported from southern France. In order to prove such filiation, we will compare a wide range of sources dated between the 10th and 12th centuries, representatives of different European geographical spaces. Thus, we will proceed to a melodic and modal analysis in order to unravel the most characteristic features of the introits; in parallel, we will take into account the historical and cultural background of the period. The contemporary theoretical treatises as well as some of the most important reformed plainchant books (such as the Medicean Gradual) are also a significant object of study in this research to broaden and deepen our understanding of this music.
Nassarre, 2015
The Music Archive of the Cathedral of Tarazona (Zaragoza) preserves an Antiphonarium de Tempore f... more The Music Archive of the Cathedral of Tarazona (Zaragoza) preserves an Antiphonarium de Tempore from the beginning of the 15th century, which until now has not been studied. In this article the manuscript is analyzed from different perspectives –codicological, musical and liturgical– in order to explore its more specific elements and to individualize the Roman tradition codified in the bishopric of Tarazona during the Middle Ages. It is aimed, on the one hand, at highlighting the uniqueness of the musical notation of this codex, and on the other, at revealing the liturgical influences that converged on this episcopal see located between Aragon, Navarre and Castile.
Cuadernos de Estudios Gallegos LVIII/Nº 124, 2011
The research made with regard to the music composed for the cult of the Apostle James is generall... more The research made with regard to the music composed for the cult of the Apostle James is generally based on the Codex Calixtinus. Although the Codex is an outstanding source, it has little connection with the varied and widespread Jacobean lyrical expressions in the Iberian Peninsula throughout in the late Middle Ages. The discovery of this thirteenth-century antiphonary fragment from the Office of the Translation of St James in the cathedral of Segovia, will provide a glimpse, for the first time, of a part of the musical corpus compiled for the feast of St. James in the Middle Ages. The analysis presented here explores the applicability of modal, melodic and textual structures and their relationships with other repertoires, such as Gregorian chant or the works from the Calixtinus codex. At the same time, this study will examine the motives that promoted the creation of this celebration and its diffusion in the Iberian world. Moreover, it is hoped that this multi-faceted approach will attempt to date the origin of this religious service in the form that appears in the Segovia fragment, and also will detail the reasons of its reform after the Council of Trent. In conclusion, it will be compared to both the antiphonal and the responsorial series of this office, from different Spanish liturgical sources, with the aim of understanding the degree of uniformity in the transmission of its texts.
Nassarre 29, pp. 179-206, 2013
Many and varied are the uncertainties about the sacred production from the beginning of the 20th ... more Many and varied are the uncertainties about the sacred production from the beginning of the 20th century in Spain as well as their outstanding composers. These scholars, mainly formed by ecclesiastics, received the guidelines about sacred music promulgated by Pope Pius X in its Motu Proprio Tra le sollecitudini (1903), adapting this regulation to its own aesthetic. This study purposes to shed light on the claretian priest Luis Iruarrízaga (1891-1928) —one of the greatest leading figures in this clerical movement— through an analytical approach based on his more representative composition: Triludios al Santísimo Sacramento. In this way, it will be possible to appreciate, not only the high-quality and adjustment of this music to the liturgical frame, but also the reception and influences with regards to the musical avant-gardes of that time.
Studi Musicali 5/n. 1 (2014), pp. 83-90
This article seeks to address two issues posed by the fragment of Medieval polyphony recently dis... more This article seeks to address two issues posed by the fragment of Medieval polyphony recently discovered at the Archive of Sigüenza Cathedral (Guadalajara): which institution did it belong to and where was it copied? In particular, the manuscript’s possible connection to this cathedral will be analysed, based on a critical examination of its documentary sources, many of which have been barely studied until now. In testing my initial hypothesis a local diploma, dating from 1343, will be extremely important, as it equipped the cathedral with a master of vocal polyphony.
Nassarre, 2014
The Archive of the Cathedral of Barbastro (Huesca) holds an Office antiphonary from the beginning... more The Archive of the Cathedral of Barbastro (Huesca) holds an Office antiphonary from the beginning of the 15th century, almost unknown to the scientific community. This article analyzes the manuscript, which contains the Proper chants from the first sunday of Advent until Good Friday, from the codicological, musicological and liturgical perspective, in order to identify the tradition codified in the Church of Barbastro during the Middle Ages. We aim to detect, on the one hand, the various liturgical influences that have converged in this border diocese; and on the other hand, to highlight the exceptional richness of the square notation of this source with numerous features rooted in the old neumatic notations.
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Books by Santiago Ruiz Torres
Articles by Santiago Ruiz Torres
of the 11th cent. This had two short-term effects on the liturgy of the saints. On the one hand, it promoted the introduction of many French saints’ cults derived from the use of manuscripts which served as models for the configuration of the Romanum officium. On the other hand, it caused a severe setback in the cult of the Iberian saints as the great majority of them were lacking proper formularies in the newly imported
books. The process of romanization of the saints in medieval Iberia is still little understood, despite its great significance for the study of the liturgy at that time. This essay aims to shed light on this lacuna, taking the Benedictine monastery of San Juan de la Peña as a reference point. Fortunately, some extant liturgical witnesses to the Sanctorale are linked to this famous Pyrenean monastery, which also cover a wide chronological arc from the 12th to the 15th cent. The research carried out is divided into two phases. In phase 1, we analyse these sources, correcting the erroneous adscription to San Juan de la Peña of the El Escorial Breviary L.III.4. In phase 2, we contextualise the tradition of the cult of saints at San Juan de la Peña, comparing its calendar to those of other peninsular Benedictine and diocesan churches of Aragon.
forms of liturgical expression most closely linked to the late Middle
Ages. Knowledge of the genre is, however, far from complete,
partly because of the scarce attention that late plainchant has received
until recently, but also because of its strong localism. In
fact, many of these offices were composed as a vehicle to honor the
patron saint of a particular church or monastery. In the long run,
this has resulted in their sources being limited and scattered, often
without musical notation. These pages aim to study the rhymed
office of Saint Froilanus (832-905), who was a hermit and, later,
bishop of Leon. Its interest lies primarily in its preservation in two
different musical versions: the first and most important, which
transmits the complete office, is in a breviary de Sanctis from the
13th and 14th centuries preserved in the Archive of the Cathedral
of Lugo; the other musical version, with five responsories, is in the
processional ms. 9 of the Archive of the Cathedral of Leon, copied
at the end of the 14th century. Besides the edition of the texts and
some scattered information, nothing is known about this repertoire.
Through its detailed analysis we intend to learn what were the
technical and aesthetic guidelines followed in its composition, as
well as how it adapted to the most primitive Gregorian corpus. The
evidence gathered will allow us to get closer to the chronological
dating of the office and the possible geographical origin of its composers.
here presents a marked interdisciplinary aspiration including diff erent fi elds of study such as: musicology, liturgy, history or palaeography. Among the most outstanding elements of this fragmentary corpus is the discovery of an antiphonary with a proper Office of St James the Apostle, dated ca. 1100, and therefore, in an earlier version than the Codex Calixtinus, with which it shares interesting textual and melodic concordances. The other great point of attraction is a bifolio of polyphonic music from the beginning of the 14th century, with excerpts of four compositions in Franconian notation.
of the 11th cent. This had two short-term effects on the liturgy of the saints. On the one hand, it promoted the introduction of many French saints’ cults derived from the use of manuscripts which served as models for the configuration of the Romanum officium. On the other hand, it caused a severe setback in the cult of the Iberian saints as the great majority of them were lacking proper formularies in the newly imported
books. The process of romanization of the saints in medieval Iberia is still little understood, despite its great significance for the study of the liturgy at that time. This essay aims to shed light on this lacuna, taking the Benedictine monastery of San Juan de la Peña as a reference point. Fortunately, some extant liturgical witnesses to the Sanctorale are linked to this famous Pyrenean monastery, which also cover a wide chronological arc from the 12th to the 15th cent. The research carried out is divided into two phases. In phase 1, we analyse these sources, correcting the erroneous adscription to San Juan de la Peña of the El Escorial Breviary L.III.4. In phase 2, we contextualise the tradition of the cult of saints at San Juan de la Peña, comparing its calendar to those of other peninsular Benedictine and diocesan churches of Aragon.
forms of liturgical expression most closely linked to the late Middle
Ages. Knowledge of the genre is, however, far from complete,
partly because of the scarce attention that late plainchant has received
until recently, but also because of its strong localism. In
fact, many of these offices were composed as a vehicle to honor the
patron saint of a particular church or monastery. In the long run,
this has resulted in their sources being limited and scattered, often
without musical notation. These pages aim to study the rhymed
office of Saint Froilanus (832-905), who was a hermit and, later,
bishop of Leon. Its interest lies primarily in its preservation in two
different musical versions: the first and most important, which
transmits the complete office, is in a breviary de Sanctis from the
13th and 14th centuries preserved in the Archive of the Cathedral
of Lugo; the other musical version, with five responsories, is in the
processional ms. 9 of the Archive of the Cathedral of Leon, copied
at the end of the 14th century. Besides the edition of the texts and
some scattered information, nothing is known about this repertoire.
Through its detailed analysis we intend to learn what were the
technical and aesthetic guidelines followed in its composition, as
well as how it adapted to the most primitive Gregorian corpus. The
evidence gathered will allow us to get closer to the chronological
dating of the office and the possible geographical origin of its composers.
here presents a marked interdisciplinary aspiration including diff erent fi elds of study such as: musicology, liturgy, history or palaeography. Among the most outstanding elements of this fragmentary corpus is the discovery of an antiphonary with a proper Office of St James the Apostle, dated ca. 1100, and therefore, in an earlier version than the Codex Calixtinus, with which it shares interesting textual and melodic concordances. The other great point of attraction is a bifolio of polyphonic music from the beginning of the 14th century, with excerpts of four compositions in Franconian notation.
area. In this regard, the inquiry on the contemporary musical treatises will acquire a substantial importance. In parallel, we will analyze some pieces of common plainchant that reveal details of mensuration, all belonging to the choral library of the Cathedral of Segovia. Finally, we will also pay special attention to the possible influence of the polyphony on the assimilation of such habits. It must be stressed, in this regard, that the chapel singers participated occasionally in the intonation of the ecclesiastical melodies, a fact hardly considered by the musicology.
le Midi region. However, it is still unknown how the new melodic corpus was assimilated in different Spanish churches, the models that may have served as references, and even, to what extent it remained stable with the passage of time. The objective of this article is to examine these issues from the perspective of a particular church: the Segovian diocese. A series of pieces belonging to the Offices of Saint Martin of Tours and Saint
Cecilia will thus be compared, according to two groups of sources: the first, consisting of five codices in Aquitanian notation, related to the new liturgical receptio in some form; and the second, consisting of several local manuscripts, namely, an antiphonary from the end of the 13th or the beginning of the 14th century, and four choirbooks copied soon after the Council of Trent.
use at present, above all in temples linked to religious orders. This late deployment certainly surprises if one considers the prominent role reached by the organ in the liturgical context from the end of the Middle Ages. Despite the importance which the mastery of that skill acquired among organists, it has not received for the moment due attention from the musicology. The present study concentrates on two aspects. In the first part, of a marked historiographical character, it describes the factors that prevented the accompaniment of the plainsong from coming to fruition sooner; factors largely determined by the limited acoustic possibilities of the primitive organ, as well as the adverse reaction that provoked such sound embellishment in some ecdesiastical circles. The second, an analytical approach, tries to reveal the aesthetic and stylistic criteria adopted by Spanish organists when they accompanied the sacred monody in the 19th century; the moment, as noted, of the consolidation of such practice. For the development of this section we will examine the proposals made by various contemporary authors such as Hilarión Eslava, Ignacio Ovejero or Ildefonso Jimeno de Lerma, among others. The way in which these authors resolve the melodic, rhythmic and harmonic parameters will contribute, likewise, to clarify some of the performance keys adopted by the plainsong around that time. The way to register the instrument in its coordination with the voice will also be the object of attention; an art of a special importance, but perhaps - for obvious reasons- it has gone unnoticed many times.
renacentista» (MEDyREN), de la Sociedad Española de Musicología (SEdeM) tiene
como objetivo reunir a todos los investigadores interesados en diversas perspectivas
desde las que se puede estudiar el hecho musical dentro de la península ibérica desde
los siglos IX al XVI o principios del XVII.
Conscientes en que los términos utilizados tradicionalmente para la periodización y su
concepción como etapas que comienzan y finalizan en fechas determinadas tienden a
utilizarse cada vez con menor profusión y siempre con la precaución de precisar una
evolución constante en la Historia, la utilización de una terminología tradicional tan
solo implica un intento de delimitar de forma breve unos estudios que se inician con
las primeras fuentes musicales escritas y que finaliza con el progresivo establecimiento
de las corrientes estéticas que se extienden hasta el Siglo de Oro.
Con la organización de este Segundo Congreso Internacional, que tendrá lugar en el
excepcional marco del Auditorio Municipal de Santo Domingo y de la Casa de Aguilar
en Borja (Zaragoza) durante los días 5 y 6 de abril de 2019, se pretende crear un foro
de discusión e intercambio de ideas, sobre distintas cuestiones de carácter
interdisciplinar relacionadas con la música desde la Edad Media hasta finales del siglo
XVI: musicólogos, intérpretes, historiadores e historiadores del arte serán algunos de
los encargados de proporcionar esa visión amplia del fenómeno musical en sus
diferentes contextos.
De la misma manera se abre un espacio en este congreso para dar a conocer las
últimas aportaciones de diferentes investigadores que vienen trabajando en este
campo, con el fin de intercambiar ideas sobre los últimos avances y estudios
realizados.
Las temáticas en torno a las cuales se articulará el congreso serán preferentemente las
siguientes:
- Fuentes litúrgico-musicales manuscritas e impresas
- Música, instituciones y espacios interpretativos
- Repertorio, análisis y prácticas musicales
- Humanidades digitales y Musicología
Ante esta situación, siete docentes de la Universidad de Salamanca, desarrollaron Recursos Educativos Abiertos (REA), materiales digitales y actividades interactivas, en modalidad b-learning, para promover la inclusión y participación reflexiva de los estudiantes.
Los objetivos de esta investigación han sido valorar la efectividad y acogida de los estudiantes sobre las actividades realizadas en disciplinas tan diversas como la Didáctica, Tecnología Educativa, Filosofía y Música. Metodología: Se diseñó y aplicó un cuestionario a través de Google Forms, con preguntas de corte cuantitativo y cualitativo / abiertas y cerradas. Resultados: Los estudiantes valoraron positivamente el poder contar con recursos digitales accesibles y actividades interactivas para dedicar las clases al refuerzo de los contenidos, sintiéndose más integrados. Conclusión y Discusiones: Se confirma la importancia de diseñar recursos accesibles y actividades complementarias a realizar de manera presencial, cuya planificación debe ser flexible, ya que no todos los estudiantes contaban con los recursos y buena conexión para acceder desde casa.
para medir el grado de satisfacción en relación a los métodos, técnicas y recursos de evaluación habitualmente utilizados en nuestras clases. En este trabajo se presentan los datos obtenidos y las acciones realizadas para promover la sensibilización multicultural.
institutions in favor of an improvement of professional skills. The simplicity of these routines makes them applicable without the need for the teacher to be a music specialist. In its interdisciplinary and polyvalent design, technical difficulties are excluded. The substantial savings in time and effort involved can increase the children motivation because their playful way. Its use encourages teaching creativity and helps overcome possible communication barriers.
PROGRAMME
9.45-10.00 Opening Remarks Manuel Pedro Ferreira (CESEM–NOVA University)
10.00-10.45 Changes in Aquitanian notation in Spanish Plainchant Sources: Taxonomy and Peculiarities Santiago Ruiz Torres (Universidade de Salamanca)
10.45-11.30 An Overview on Castilian Polyphonic Fragments Nuria Torres (Universidad de Valladolid)
11.45-12.30 Problems encountered in the identification of Portuguese medieval liturgical fragments: a case study João Pedro d’Alvarenga (CESEM–NOVA University)
12-30 – 14.00 LUNCH
14.00-14.45 The Notation of the Portuguese Plainchant Fragments from Braga and Guimarães (12th–14th cent.) Elsa De Luca (CESEM–NOVA University)
15.00-16.30 Workshop with Z. Chaves and E. De Luca
16.30-16.45 Closing remarks Manuel Pedro Ferreira
17.00-17.30 LECTURE-PERFORMANCE
A thorough analysis of the improvisatory models of the villancicos of Luis Milán and their applicability in the reconstitution of vihuela accompaniment parts
Rui Araujo and Nuno Raimundo (CESEM–NOVA University of Lisbon)
This workshop is in two parts. Firstly, the four speakers will present several examples of Spanish and Portuguese musical fragments dating from the tenth to the sixteenth centuries and discuss their musical and codicological characteristics. In the second part the participants will be actively involved in the identification and description of the contents of some unstudied musical fragments belonging to a private collector who has kindly allowed us to include photos of them within the Portuguese Early Music Database (pemdatabase.eu).
The Portuguese Early Music Database is an ongoing research project which aims to digitize musical manuscripts of plainchant and polyphony written before c. 1650 and make them freely available online for consultation. Currently the PEM database includes reproductions of ca 15% of the manuscripts we have digitised so far and we are seeking new collaborators willing to study for the first time the contents of these sources or to focus on some of the features (such as the decoration, palaeography, liturgy etc.) of the manuscripts already indexed in PEM in greater detail.
The workshop’s goals are to:
• provide the participants with some of the basic knowledge and guidelines they need in order to make inventories of the musical contents of different types of Iberian musical fragments dating from the tenth to the sixteenth centuries;
• encourage new collaborations and partnerships with the PEM Database.
The morning session will be held in Sala Multiusos 2, Edificio I&D, Av. de Berna 26, 1050-099 Lisbon
The afternoon session and the lecture-performance will be held in the Auditorium 001, Torre A, FCSH, Av. de Berna 26 C, 1069-061 Lisbon
ALL WELCOME
For more information see http://cesem.fcsh.unl.pt/en/event/a-portuguese-early-music-database-apresenta-um-dia-de-workshop-sobre-fragmentos-ibericos-manuscritos/
The workshop is organized by Dr Elsa De Luca