Andrea Puentes-Blanco
Permanent Researcher in Musicology at the Spanish National Research Council (CSIC, Institución Milá y Fontanals de Investigación en Humanidades, Barcelona)
Past position:
Assistant Lecturer of Musicology at Université Toulouse Jean Jaurès, Music Department (from 2019 to 2021)
Other info:
PhD in Musicology, University of Barcelona (2018): "Música y devoción en Barcelona (ca. 1550-1626): estudio de libros de polifonía, contextos y prácticas musicales". Grade: Sobresaliente "cum laude"
Predoctoral Fellow FPI at the Consejo Superior de Investigaciones Científicas (CSIC), Institución Milá y Fontanals (IMF), 2014-2018
Visiting scholar at the University of Chicago (USA), 2017
Visiting scholar at the University of Oxford (UK), 2016
Visiting scholar at the Centre d'Études Supérieures de la Renaissance-CNRS (Tours, France), 2015
Member of the Research Project, "Polifonía hispana y música de tradición oral en la era de las humanidades digitales" (HAR2016-75371, Ministerio de Ciencia e Innovación), CSIC-IMF (PIs: Emilio Ros-Fábregas & María Gembero Ustárroz)
Member of the research team of the digital projects: "Books of Hispanic Polyphony" (https://www.hispanicpolyphony.eu/) and "Fondo de Música Tradicional" (https://www.musicatradicional.eu/)
Fluent in French (C1 Advanced Certificate), Portuguese (C1 Advanced Certificate), English, Italian, and Catalan. Mother tongues: Spanish and Galician.
Address: Barcelona
Past position:
Assistant Lecturer of Musicology at Université Toulouse Jean Jaurès, Music Department (from 2019 to 2021)
Other info:
PhD in Musicology, University of Barcelona (2018): "Música y devoción en Barcelona (ca. 1550-1626): estudio de libros de polifonía, contextos y prácticas musicales". Grade: Sobresaliente "cum laude"
Predoctoral Fellow FPI at the Consejo Superior de Investigaciones Científicas (CSIC), Institución Milá y Fontanals (IMF), 2014-2018
Visiting scholar at the University of Chicago (USA), 2017
Visiting scholar at the University of Oxford (UK), 2016
Visiting scholar at the Centre d'Études Supérieures de la Renaissance-CNRS (Tours, France), 2015
Member of the Research Project, "Polifonía hispana y música de tradición oral en la era de las humanidades digitales" (HAR2016-75371, Ministerio de Ciencia e Innovación), CSIC-IMF (PIs: Emilio Ros-Fábregas & María Gembero Ustárroz)
Member of the research team of the digital projects: "Books of Hispanic Polyphony" (https://www.hispanicpolyphony.eu/) and "Fondo de Música Tradicional" (https://www.musicatradicional.eu/)
Fluent in French (C1 Advanced Certificate), Portuguese (C1 Advanced Certificate), English, Italian, and Catalan. Mother tongues: Spanish and Galician.
Address: Barcelona
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Selected Articles by Andrea Puentes-Blanco
and printed sources preserved in three Barcelona libraries (the Biblioteca de Catalunya, the Centre de Documentació de l’Orfeó Català and the Biblioteca de Reserva of the University of Barcelona). This analysis considers: 1) Palestrina’s
lamentations copied in E-Boc 11, a repertory which does not have concordances with other Spanish sources; 2) the case of «Missa Papae Marcelli» for four voices copied in E-Bbc 585 and E-Boc 59; 3) the «Missa sine nomine voci mutate» in E-Bbc 859, a mass for which only two other manuscript sources are known in Italy; and 4) two hitherto unknown Palestrina editions that I found recently in the Biblioteca de Reserva of the University of Barcelona.
que E-Bbc 782/10 es una de las pocas fuentes conocidas en España de aquella época que presenta tachaduras, correcciones y varias versiones de una misma obra, mostrando así distintas fases del proceso de composición de dichos motetes.
Books by Andrea Puentes-Blanco
Selected Conference Presentations by Andrea Puentes-Blanco
In his classical study about the Italian madrigal, Alfred Einstein considered Caimo’s canzonette as an outstanding chapter of the new Italian canzonette that had great diffusion at the end of the sixteenth-century. Caimo’s first book of canzonette includes twenty-three pieces. Unfortunately, only the tenor partbook of this new edition found in Barcelona remains. Nevertheless, it is possible to examine several features of the musical style and the texts of the pieces. I will examine in which way the pieces exhibit the typical characteristics of the canzonette style in the late sixteenth-century. I also look at the literary texts: some of them were also set in music by other composers (such as Cesare Borgo, Gasparo Costa, or Orazio Vecchi), while others only share the text incipit with those used by other composers. Caimo’s edition found in Barcelona might also shed light on his career and musical aspirations. The book is dedicated to the Duke of Savoy Carlo Emanuele I, which might indicate that Caimo tried to obtain a position as a composer in the court of Savoy. Finally, I will point out some evidence about how this book could have reach Barcelona in the late sixteenth century. This paper offers, thus, new light on Gioseppe Caimo’s works and career.
and printed sources preserved in three Barcelona libraries (the Biblioteca de Catalunya, the Centre de Documentació de l’Orfeó Català and the Biblioteca de Reserva of the University of Barcelona). This analysis considers: 1) Palestrina’s
lamentations copied in E-Boc 11, a repertory which does not have concordances with other Spanish sources; 2) the case of «Missa Papae Marcelli» for four voices copied in E-Bbc 585 and E-Boc 59; 3) the «Missa sine nomine voci mutate» in E-Bbc 859, a mass for which only two other manuscript sources are known in Italy; and 4) two hitherto unknown Palestrina editions that I found recently in the Biblioteca de Reserva of the University of Barcelona.
que E-Bbc 782/10 es una de las pocas fuentes conocidas en España de aquella época que presenta tachaduras, correcciones y varias versiones de una misma obra, mostrando así distintas fases del proceso de composición de dichos motetes.
In his classical study about the Italian madrigal, Alfred Einstein considered Caimo’s canzonette as an outstanding chapter of the new Italian canzonette that had great diffusion at the end of the sixteenth-century. Caimo’s first book of canzonette includes twenty-three pieces. Unfortunately, only the tenor partbook of this new edition found in Barcelona remains. Nevertheless, it is possible to examine several features of the musical style and the texts of the pieces. I will examine in which way the pieces exhibit the typical characteristics of the canzonette style in the late sixteenth-century. I also look at the literary texts: some of them were also set in music by other composers (such as Cesare Borgo, Gasparo Costa, or Orazio Vecchi), while others only share the text incipit with those used by other composers. Caimo’s edition found in Barcelona might also shed light on his career and musical aspirations. The book is dedicated to the Duke of Savoy Carlo Emanuele I, which might indicate that Caimo tried to obtain a position as a composer in the court of Savoy. Finally, I will point out some evidence about how this book could have reach Barcelona in the late sixteenth century. This paper offers, thus, new light on Gioseppe Caimo’s works and career.
General information about the Cubiculum musicae project here: https://cubiculum-musicae.univ-tours.fr/presentation/?page_id=22
General information about the Cubiculum musicae project here: https://cubiculum-musicae.univ-tours.fr/presentation/?page_id=22
Sobresaliente por unanimidad "Cum laude"
The five participants will present new research related, in different ways, to the online Books of Hispanic Polyphony database (http://hispanicpolyphony.eu, Jan Koláček, webmaster) in which they have been working as part of a team for the past four years (R+D Project “Libros de polifonía hispana 1450-1650: catálogo sistemático y contexto histórico-cultural” —HAR2012-33604; Spanish Ministry of Economy and Competitivity, 2012-2016). This Session will mark the beginning of the open access to this comprehensive online database that contains a considerable amount of information about sources of Hispanic polyphony (manuscript and printed) from the 15th through the 19th centuries, composers, institutions, locations, works and related documents. Work on the Books of Hispanic Polyphony database continues under the current R+D Project “Polifonía hispana y música de tradición oral en la era de las humanidades digitales” (HAR2016-75371-P; Spanish Ministry of Economy, Industry and Competitivity, 2017-2020).
Abstract: Este Proyecto Intramural Especial (IP: Dr. Andrea Puentes-Blanco) tiene como objetivo dar continuidad a la principal línea de investigación desarrollada hasta el presente por la investigadora principal del mismo: el estudio de la música y las prácticas musicales en la Barcelona de la temprana Edad Moderna, en conexión con otros territorios de la antigua Corona de Aragón, atendiendo también a los vínculos con el resto del mundo ibérico, hispánico y europeo. La investigación se articula en torno a tres ejes principales: 1) estudio y edición de fuentes musicales de finales del siglo XVI y principios del siglo XVII; 2) investigación de prácticas musicales a través de documentación de archivo; 3) desarrollo de aplicaciones digitales que faciliten la investigación y contribuyan a su diseminación y comunicación.