Digital publications by Juan Ruiz Jiménez
Musicología en transición, 2022
In the evaluation of any Digital Humanities project, the two fundamental parameters are the quali... more In the evaluation of any Digital Humanities project, the two fundamental parameters are the quality of the project’s content and the analysis of its impact. Web analytics is the measurement, processing, analysis, and reporting of internet traffic in order to understand, analyze and optimize a website. While web analytics aims to quantify the extent to which a project’s original objectives have been achieved, it also offers us a starting point for designing structural improvements that enable us to continue to set new challenges. The large dataset provided by the web analytics tool Google Analytics for the digital platform Historical Soundscapes—from its online inception on September 21, 2015 to September 21, 2021—allows us to quantify such information as the number of users, their origin, their age profiles and gender, as well as user access routes and the behavior of users in the course of their visits to the site. While this analysis confirms the broad international reach achieved by our project, it also helps us to assess the effectiveness of the various actions we have taken to increase its visibility.
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El cardenal Cisneros: música, mecenazgo cultural y liturgia, 2022
La rivalidad entre las archidiócesis de Toledo y Sevilla fue una constante que transcurrió en par... more La rivalidad entre las archidiócesis de Toledo y Sevilla fue una constante que transcurrió en paralelo a sus intercambios e interconexiones relacionadas con prácticas litúrgicas, prestamos de melodías y circulación de músicos entre ambas circunscripciones eclesiásticas. El principal punto de confrontación estuvo centrado en el status de “primada” que detentaba Toledo, pero que Sevilla siempre reclamó, sustentando ese derecho en su supuesta primacía en tiempos de San Leandro y San Isidoro, y que fue objeto de polémica hasta bien entrado el siglo XVIII. Al simbolismo y privilegios derivados de la categoría de “primada” se sumaba la vertiente económica. La sede toledana, con una demarcación territorial a su cargo mucho más extensa que la de Sevilla, gozaba de una renta que superaba con creces a la hispalense, lo cual la convirtió en “objeto de deseo” y último escalafón en el cursus honorum para los integrantes del alto clero hispano. A lo largo del periodo que nos ocupa, varios fueron los arzobispos y dignidades de Sevilla que promocionaron a la mitra de Toledo.
En el alto clero hispalense de la centuria que media entre c. 1450 – c. 1550, encontramos notables personajes con una sólida formación humanista y destacados mecenas del primer Renacimiento, cuyo mecenazgo se proyecta tanto en el recinto catedralicio como en el resto del entramado urbano de Sevilla. Abordamos una aproximación metodológica para el estudio de la vertiente del patrocinio musical del alto clero sevillano articulada en los siguiente tres ejes:
- I. Efectivos musicales propios.
- II. Elementos materiales.
- III. Dotaciones
Este caleidoscópico patrocinio presenta múltiples facetas que frecuentemente se entrelazan, lo que no siempre facilita su propia sistematización. Sus resultados, en consecuencia, son igualmente heterogéneos y se materializan en distintos aspectos:
- Incrementarán las oportunidades laborales o posibilitarán mejoras, directas o indirectas, de las condiciones económicas para cantores e instrumentistas que, en ocasiones, consiguen incluso obtener beneficios eclesiásticos que favorecen su ascenso social.
- Las rivalidades, contactos y movimientos de sus patronos impulsarán el intercambio de prácticas y repertorios musicales.
- Se crearán nuevos espacios rituales en los que se establecen servicios litúrgicos o devocionales en los que la música monódica y polifónica está presente y que, esporádicamente, actúan como motor generador de nuevas composiciones.
- Asociado o no a esos nuevos espacios, el patrocinio material se traduce en la provisión de objetos litúrgicos y suntuarios, entre los que nos interesan especialmente los libros e instrumentos con los que se dota un determinado lugar o institución.
La presencia del mecenazgo musical privado en el estudio de las instituciones sacras hispanas tradicionalmente ha sido relegado, en el mejor de los casos, a lo anecdótico. Su estudio y evaluación sistemática proporcionará una visión menos autárquica y monolítica, más dinámica y mucho más rica de su poliédrica actividad musical.
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Paisajes Sonoros Medievales, 2019
On January 2, 1492, Boabdil surrendered Granada to the Catholic Monarchs who proclaimed their vic... more On January 2, 1492, Boabdil surrendered Granada to the Catholic Monarchs who proclaimed their victory from the highest tower of the Alhambra. To the rumble of the bombards and the sound of warlike instruments was added the tolling of a bell and the song of Te Deum laudamus that spread throughout the city, as a prelude to the transformation of its soundscape. The coexistence of calls to prayer and the liturgy of Muslims and Christians was ephemeral. After the massive conversion of the Mudejars in 1500, the process of acculturation of the vanquished population began. This process would end up unleashing the war of the Alpujarras and the expulsion of the Moors from the city in 1570. In this period, Granada would experience a drastic acoustic mutation resulting from the progressive elimination of the sonic identity features of the Moorish community and its sound assimilation to other Hispanic cities.
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Historical soundscapes (c.1200 – c.1800) is a website (http://www.historicalsoundscapes.com) desi... more Historical soundscapes (c.1200 – c.1800) is a website (http://www.historicalsoundscapes.com) designed to explore historical urban soundscapes aided by the outreach potential made possible through new technologies. This innovative approach will allow users to recreate music of the past in historical locations through the use of online interactive maps with digital resources (documents, videos, sounds, etc.). The contents aim to be inclusive and help achieve a better understanding of urban culture, establishing an aesthetic and intellectual dialogue with their sensorial aural history through an interdisciplinary approach that brings together urban musicology with areas including cultural history and art history, among others. Our main aim has been to create a digital platform to map the soundscapes of the cities of Granada and Seville as a paradigm that should prove adaptable to any urban centre over different historical periods. This platform is intended to be a useful and innovative tool for the educational institutions (from primary to tertiary education), museums, tourist boards, etc. of different cities.
ISSN: 2603-686X.
Legal Deposit: GR 107-2018.
Editors: Juan Ruiz Jiménez and Ignacio José Lizarán Rus.
Edited in Granada by Paisajes sonoros históricos
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Books by Juan Ruiz Jiménez
Discurso de ingreso en la Real Academia de Bellas Artes de Nuestra Señora de las Angustias de Gra... more Discurso de ingreso en la Real Academia de Bellas Artes de Nuestra Señora de las Angustias de Granada
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The originality of this new book on one of the foremost Spanish cathedrals in Castile, at a time ... more The originality of this new book on one of the foremost Spanish cathedrals in Castile, at a time when the kingdom was at the height of its splendour, lies in the distinctive approach and perspective adopted by the author. Its focus of interest is the process of creation and the history of the 'Librería de Canto de Órgano', the name given to the cathedral’s collection of bound books of polyphony. The author’s analysis of the collection’s content and interaction with the liturgy, sheds light on the process by which some pieces were eliminated, while others were incorporated into the canon to form part of the musical corpus generated by the new aesthetic trends, and how they found their place in a ceremonial that was characterised by its permeability to change and innovation. From the second half of the 15th century, the cathedral of Seville created and exported a repertoire and a musical practice, a phenomenon which was to reach its peak during the 16th century, when it provided the liturgical model for the dioceses established in the New World. In this context, throughout the second half of the century the work of Francisco Guerrero became synonymous with the musical life of the institution, whose music archives grew, thanks both to its own production and the imported Spanish and foreign repertoires in a variety of printed and manuscript forms. One particularly important episode in this story of reception is due to the acquisition by Seville Cathedral of the music archives of the Biblioteca Colombina, the collection of books and manuscripts assembled by Christopher Columbus’ son Fernando. Its influence was fundamental and two-fold: the incorporation of new compositions, through the direct use of printed versions and manuscripts, including copies of other pieces from manuscript sources, and the use of the collection for didactic purposes. The last chapter of the book steps outside the time frame in which the repertoire was created in order to delve into the processes which led to and perpetuated its survival - in some cases for more than three hundred years. The “Librería de Canto de Órgano” continued to play a key role in the musical life of the cathedral until about the mid-19th century, when, for a number of reasons, there began to be renewed interest in the national historical heritage and a reappraisal of classical polyphony.
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Describes technical characteristics of organs and their registers in 30 churches and nine monaste... more Describes technical characteristics of organs and their registers in 30 churches and nine monasteries in the bishopric. The most important makers were Bartolomé Alguacil (active in the Granada bishopric, 1520-22), Gil Martínez, Martín Hernández (1524-58), Francisco Vázquez (1514-69), Diego Liger de Sanforte (1569-92), Juan Pérez de Sanforte (1572-82), Juan González de Usagre y Porras (1584-1604), Jorge de Mendoza (1575-1607), Enrique Franco (1587-1623), Juan Franco (1598-1603), Juan de Oñate (1590-1612), Martín Alonso de Aranda (1608-21), and Gaspar Fernández de Prado (1619-47). Appendices include transcripts of archival documents (lengthy excerpts are provided from documents of the chapter archive of Granada Cathedral), biographies of the principal organ builders, and facsimiles of their signatures.
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Book chapters by Juan Ruiz Jiménez
Respondámosle a concierto. Estudios en homenaje a Maricarmen Gómez Muntané, 2020
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Mapping the Motet in Post-Tridentine Era, Esperanza Rodríguez-García and Daniele V. Filippi (eds.), Routledge, 2018
Seville and Granada were, at the end of the sixteenth century, two of the most emblematic and pop... more Seville and Granada were, at the end of the sixteenth century, two of the most emblematic and populated cities in the Crown of Castile. Seville, described as Nova Roma and Babylon, was at the zenith of its economic grandeur; Granada was disturbed by the events of the Moorish rebellion of the Alpujarras, but also pervaded with an atmosphere of religious exaltation as the result of the discovery of singular documents, the Sacromonte lead books, and the presumed relics of some early Christian martyrs, including St. Cecilio who is traditionally considered to be the first bishop of Granada (1st century BC). Both cities had dense networks of ecclesiastical institutions, secular and regular, which in the case of Granada had spread virally planned by the monarchy and meant to reaffirm its Christian identity. This chapter stems from the online digital platform Historical Soundscapes [ ISSN: 2603-686X] [http://www.historicalsoundscapes.com/en] which includes a rich interactive library of historical sonic events. Through the analysis of the library’s data, I will explore the meaning that the word ‘motet’ had in post-Tridentine Seville and Granada for people from different social backgrounds and occupations, including professional musicians and dilettantes, clergy and laity. These events illustrate the multiple scenarios for the performance of the motet in a specific geographical area and chronological period. I have also demonstrated how tradition and innovation coexisted, both in the performed repertoire and in the diversity of performance modalities. This phenomenological vision of the motet moves away from the constrained framework within which the genre has been often confi ned in scholarly literature. The motet appears not only as an important laboratory for compositional experimentation but as a polyfunctional genre which, going beyond its original textual, rhetorical and functional matrix, evolved, through instrumental performance, into a pure sensory experience.
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Hearing the City in Early Modern Europe, T. Knighton, A. Mazuela-Anguita (eds.). Turnhout, Brepols, 2018
Historical Soundscapes is a website designed to explore historical urban soundscapes aided by the... more Historical Soundscapes is a website designed to explore historical urban soundscapes aided by the outreach potential made possible through new technologies. This innovative approach will allow users to recreate music of the past in historical locations through the use of online interactive maps with digital resources (documents, videos, sounds, etc.). The contents aim to be inclusive and help achieve a better understanding of urban culture, establishing an aesthetic and intellectual dialogue with their sensorial aural history through an interdisciplinary approach that brings together urban musicology with areas including cultural history and art history, among others. Our main aim has been to create a digital platform to map the soundscapes of the cities of Granada and Seville as a paradigm that should prove adaptable to any urban centre over different historical periods. With Historical Soundscape we have joined the increasing number of scholars adopting DH approaches in every area of the humanities during the last five year, a field that already has its own history and, above all, promises a future full of innovations and challenges. Quality and impact are two indispensable parameters in the assessment of any DH project, so we are going to present a preliminary analysis of the platform’s impact in its first year on line to show the figures of our audience and to reveal the wide international reach of the project. Historical Soundscapes is working hard to provide a useful and innovative tool for the relevant city’s educational institutions (from primary to tertiary levels), museums and tourist boards, and thus taking new steps in the direction of an effective and realistic way to transfer knowledge that can help to reduce the gap between academic research and public knowledge.
http://historicalsoundscapes.com
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Musical Exchanges, 1100-1650: Iberian Connections [Iberian Early Music Studies 2], Dec 1, 2016
En este artículo se presenta el himnario monódico contenido en el Libro de la Regla Vieja de la c... more En este artículo se presenta el himnario monódico contenido en el Libro de la Regla Vieja de la catedral de Sevilla (E-Sc III/ 09219 [olim III, 1]) y un primer acercamiento a las concordancias y particularidades textuales, de asignación litúrgica y musicales que presenta en relación con el Intonarium Toletanum (Alcalá de Henares: Arnao Guillén de Brocar, 1515).
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Companion to Music in the Age of the Catholic Monarchs, Oct 31, 2016
During the reign of the Catholic Monarchs, musical structures rooted in
medieval practice were co... more During the reign of the Catholic Monarchs, musical structures rooted in
medieval practice were consolidated and standardized throughout the ecclesiastical networks of Castile and Aragon. This led directly to an exponential increase in composers and musical repertory patronized by the Church, both in institutional and private contexts, and in the amount of polyphony composed for the solemnification of divine worship, whether liturgical or devotional.
The cathedral soundworld in about 1500 was very varied, both as regards the range of sonorities and genres, and the architectonic geography. One of the aspects that musicological historiography has failed to address, or at best has treated anachronistically, is that of the close relationship between architecture and liturgy and the consequent transformation of performance space. The sensory elements of liturgical ceremonial, in which music had a major role, were essential to convey the theological message. Consideration of this correlation between space and ritual inevitably entails a decentralization of musical activity, traditionally limited to the choir, and its diffusion through the whole building. The aim of this essay, rather than to present a historiographical survey of recent studies of music in Spanish cathedrals, is to offer new thoughts on these and others recent approaches that afford a more holistic and dynamic—and less monolithic—view.
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Libro de la 55 SMRC, Mar 18, 2016
Sevilla es la ciudad más nombrada en la obra cervantina, lo que está en consonancia con la vincul... more Sevilla es la ciudad más nombrada en la obra cervantina, lo que está en consonancia con la vinculación personal y familiar de Miguel de Cervantes con Andalucía. A la ascendencia familiar cordobesa y la posibilidad de que residiera algún tiempo en estas tierras durante su infancia hay que sumar el hecho de que, de forma discontinua, vivió un quinto de su vida en ellas. En 1587, Cervantes llegaba a Sevilla para desempeñar el cargo de “comisario real de abastos” de cereales y aceite en Andalucía, con la tarea de recaudar provisiones para la Armada Invencible y los galeones de la Flota de la carrera de Indias. Sus estancias en esta ciudad, con interrupciones derivadas de los viajes que su cargo llevaba aparejados, se prolongan a lo largo de trece o catorce años. Sevilla, puerto y puerta de Indias y en su momento de máximo esplendor, se convierte en escenario de algunas de sus páginas literarias más destacadas y se refleja en ellas construida a través de personajes, situaciones y lugares que, aunque arquetipos modelados por Cervantes dimanan de su propia experiencia y vivencias personales, sin caer en un costumbrismo simplista. En el artículo he tratado de explorar no tanto la ficción como escudriñar las experiencias acústicas en las que Cervantes pudo estar inmerso y dilucidar, si las hubo, cuáles fueron las ocasiones que pudieron propiciar una relación, contacto o la simple coincidencia con los ambientes musicales y personajes más relevantes del panorama musical hispalense en ese momento, entre los que destaca por su producción musical sacra y profana la figura del compositor Francisco Guerrero.
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El Libro de la 54 Semana de Música Religiosa de Cuenca, Mar 28, 2015
Aproximación a los paisajes sonoros recorridos por Teresa de Ávila a lo largo de su itinerario fu... more Aproximación a los paisajes sonoros recorridos por Teresa de Ávila a lo largo de su itinerario fundacional por la Corona de Castilla.
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A Musicological Gift: Libro Homenaje for Jane Morlet Hardie, Nov 2013
El trabajo continuado y sistemático en los fondos documentales y librarios de la
Institución Co... more El trabajo continuado y sistemático en los fondos documentales y librarios de la
Institución Colombina (Sevilla), durante los últimos diez años, me ha permitido localizar
una serie de fragmentos musicales que van desde el Ars antiqua al siglo XVII.
Profundizar en distintos aspectos relacionados con la liturgia, las estructuras y fuentes
musicales de la catedral de Sevilla ha hecho posible traspasar esas fronteras y me ha
posibilitado identificar dos cantorales de canto llano conservados en otras instituciones
españolas y extranjeras como pertenecientes al rito hispalense y, por lo tanto, originarias
de su ámbito de influencia territorial. Este artículo es complementario de otro, escrito en
paralelo, sobre el himnario de la catedral de Sevilla conservado en la Regla Vieja (E-Sc
III, 1) de esta institución. Ha sido precisamente el análisis preliminar de ese elenco
hispalense el principal elemento sobre el que se sostiene la identificación del origen y
datación de un Psalterium-himnarium que se encontraba en la Biblioteca del Orfeó Català (Barcelona), (E-Boc, s.s.), actualmente en paradero desconocido.
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Estudios. Tomás Luis de Victoria. Studies, 2013
This article explores the factors, interests and situations that contributed to the process of co... more This article explores the factors, interests and situations that contributed to the process of consecration of a “classical” polyphonic corpus in a very specific geographical and chronological framework: the Crown of Castile during the second half of the sixteenth century. The process of decantation that elevated this catalogue to the category of canon considers both the selection of a certain ecclesiastical institution for its survival in the repertory in use and its importance and consideration from a didactic point of view and a model to be imitated. In each of these sacred precincts this canon is endowed with an autochthonous hallmark, in addition to imported, regional and international elements, in a different volume and proportion in each case. Particular attention has been paid to the proposed working hypothesis that this process established its roots in the middle of the century. This repertory would play a decisive role in the musical training of Tomás Luis de Victoria and be one of the main determining factors in the reception of his works.
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Historia de la Música en España e Hispanoamérica. De los Reyes Católicos a Felipe II, volumen 2, 2012
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Tomás Luis de Victoria y la cultura musical en la España de Felipe III, 2012
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Pure Gold: Golden Age Sacred Music in the Iberian World. A Homage to Bruno Turner, 2011
En este artículo se identifican y contextualizan las obras que, hasta la fecha de su publicación,... more En este artículo se identifican y contextualizan las obras que, hasta la fecha de su publicación, podían considerarse unica en el Ms. 975 de la Biblioteca de Manuel de Falla [E-Grmf 975], un libro para uso de ministriles.
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Digital publications by Juan Ruiz Jiménez
En el alto clero hispalense de la centuria que media entre c. 1450 – c. 1550, encontramos notables personajes con una sólida formación humanista y destacados mecenas del primer Renacimiento, cuyo mecenazgo se proyecta tanto en el recinto catedralicio como en el resto del entramado urbano de Sevilla. Abordamos una aproximación metodológica para el estudio de la vertiente del patrocinio musical del alto clero sevillano articulada en los siguiente tres ejes:
- I. Efectivos musicales propios.
- II. Elementos materiales.
- III. Dotaciones
Este caleidoscópico patrocinio presenta múltiples facetas que frecuentemente se entrelazan, lo que no siempre facilita su propia sistematización. Sus resultados, en consecuencia, son igualmente heterogéneos y se materializan en distintos aspectos:
- Incrementarán las oportunidades laborales o posibilitarán mejoras, directas o indirectas, de las condiciones económicas para cantores e instrumentistas que, en ocasiones, consiguen incluso obtener beneficios eclesiásticos que favorecen su ascenso social.
- Las rivalidades, contactos y movimientos de sus patronos impulsarán el intercambio de prácticas y repertorios musicales.
- Se crearán nuevos espacios rituales en los que se establecen servicios litúrgicos o devocionales en los que la música monódica y polifónica está presente y que, esporádicamente, actúan como motor generador de nuevas composiciones.
- Asociado o no a esos nuevos espacios, el patrocinio material se traduce en la provisión de objetos litúrgicos y suntuarios, entre los que nos interesan especialmente los libros e instrumentos con los que se dota un determinado lugar o institución.
La presencia del mecenazgo musical privado en el estudio de las instituciones sacras hispanas tradicionalmente ha sido relegado, en el mejor de los casos, a lo anecdótico. Su estudio y evaluación sistemática proporcionará una visión menos autárquica y monolítica, más dinámica y mucho más rica de su poliédrica actividad musical.
ISSN: 2603-686X.
Legal Deposit: GR 107-2018.
Editors: Juan Ruiz Jiménez and Ignacio José Lizarán Rus.
Edited in Granada by Paisajes sonoros históricos
Books by Juan Ruiz Jiménez
Book chapters by Juan Ruiz Jiménez
http://historicalsoundscapes.com
medieval practice were consolidated and standardized throughout the ecclesiastical networks of Castile and Aragon. This led directly to an exponential increase in composers and musical repertory patronized by the Church, both in institutional and private contexts, and in the amount of polyphony composed for the solemnification of divine worship, whether liturgical or devotional.
The cathedral soundworld in about 1500 was very varied, both as regards the range of sonorities and genres, and the architectonic geography. One of the aspects that musicological historiography has failed to address, or at best has treated anachronistically, is that of the close relationship between architecture and liturgy and the consequent transformation of performance space. The sensory elements of liturgical ceremonial, in which music had a major role, were essential to convey the theological message. Consideration of this correlation between space and ritual inevitably entails a decentralization of musical activity, traditionally limited to the choir, and its diffusion through the whole building. The aim of this essay, rather than to present a historiographical survey of recent studies of music in Spanish cathedrals, is to offer new thoughts on these and others recent approaches that afford a more holistic and dynamic—and less monolithic—view.
Institución Colombina (Sevilla), durante los últimos diez años, me ha permitido localizar
una serie de fragmentos musicales que van desde el Ars antiqua al siglo XVII.
Profundizar en distintos aspectos relacionados con la liturgia, las estructuras y fuentes
musicales de la catedral de Sevilla ha hecho posible traspasar esas fronteras y me ha
posibilitado identificar dos cantorales de canto llano conservados en otras instituciones
españolas y extranjeras como pertenecientes al rito hispalense y, por lo tanto, originarias
de su ámbito de influencia territorial. Este artículo es complementario de otro, escrito en
paralelo, sobre el himnario de la catedral de Sevilla conservado en la Regla Vieja (E-Sc
III, 1) de esta institución. Ha sido precisamente el análisis preliminar de ese elenco
hispalense el principal elemento sobre el que se sostiene la identificación del origen y
datación de un Psalterium-himnarium que se encontraba en la Biblioteca del Orfeó Català (Barcelona), (E-Boc, s.s.), actualmente en paradero desconocido.
En el alto clero hispalense de la centuria que media entre c. 1450 – c. 1550, encontramos notables personajes con una sólida formación humanista y destacados mecenas del primer Renacimiento, cuyo mecenazgo se proyecta tanto en el recinto catedralicio como en el resto del entramado urbano de Sevilla. Abordamos una aproximación metodológica para el estudio de la vertiente del patrocinio musical del alto clero sevillano articulada en los siguiente tres ejes:
- I. Efectivos musicales propios.
- II. Elementos materiales.
- III. Dotaciones
Este caleidoscópico patrocinio presenta múltiples facetas que frecuentemente se entrelazan, lo que no siempre facilita su propia sistematización. Sus resultados, en consecuencia, son igualmente heterogéneos y se materializan en distintos aspectos:
- Incrementarán las oportunidades laborales o posibilitarán mejoras, directas o indirectas, de las condiciones económicas para cantores e instrumentistas que, en ocasiones, consiguen incluso obtener beneficios eclesiásticos que favorecen su ascenso social.
- Las rivalidades, contactos y movimientos de sus patronos impulsarán el intercambio de prácticas y repertorios musicales.
- Se crearán nuevos espacios rituales en los que se establecen servicios litúrgicos o devocionales en los que la música monódica y polifónica está presente y que, esporádicamente, actúan como motor generador de nuevas composiciones.
- Asociado o no a esos nuevos espacios, el patrocinio material se traduce en la provisión de objetos litúrgicos y suntuarios, entre los que nos interesan especialmente los libros e instrumentos con los que se dota un determinado lugar o institución.
La presencia del mecenazgo musical privado en el estudio de las instituciones sacras hispanas tradicionalmente ha sido relegado, en el mejor de los casos, a lo anecdótico. Su estudio y evaluación sistemática proporcionará una visión menos autárquica y monolítica, más dinámica y mucho más rica de su poliédrica actividad musical.
ISSN: 2603-686X.
Legal Deposit: GR 107-2018.
Editors: Juan Ruiz Jiménez and Ignacio José Lizarán Rus.
Edited in Granada by Paisajes sonoros históricos
http://historicalsoundscapes.com
medieval practice were consolidated and standardized throughout the ecclesiastical networks of Castile and Aragon. This led directly to an exponential increase in composers and musical repertory patronized by the Church, both in institutional and private contexts, and in the amount of polyphony composed for the solemnification of divine worship, whether liturgical or devotional.
The cathedral soundworld in about 1500 was very varied, both as regards the range of sonorities and genres, and the architectonic geography. One of the aspects that musicological historiography has failed to address, or at best has treated anachronistically, is that of the close relationship between architecture and liturgy and the consequent transformation of performance space. The sensory elements of liturgical ceremonial, in which music had a major role, were essential to convey the theological message. Consideration of this correlation between space and ritual inevitably entails a decentralization of musical activity, traditionally limited to the choir, and its diffusion through the whole building. The aim of this essay, rather than to present a historiographical survey of recent studies of music in Spanish cathedrals, is to offer new thoughts on these and others recent approaches that afford a more holistic and dynamic—and less monolithic—view.
Institución Colombina (Sevilla), durante los últimos diez años, me ha permitido localizar
una serie de fragmentos musicales que van desde el Ars antiqua al siglo XVII.
Profundizar en distintos aspectos relacionados con la liturgia, las estructuras y fuentes
musicales de la catedral de Sevilla ha hecho posible traspasar esas fronteras y me ha
posibilitado identificar dos cantorales de canto llano conservados en otras instituciones
españolas y extranjeras como pertenecientes al rito hispalense y, por lo tanto, originarias
de su ámbito de influencia territorial. Este artículo es complementario de otro, escrito en
paralelo, sobre el himnario de la catedral de Sevilla conservado en la Regla Vieja (E-Sc
III, 1) de esta institución. Ha sido precisamente el análisis preliminar de ese elenco
hispalense el principal elemento sobre el que se sostiene la identificación del origen y
datación de un Psalterium-himnarium que se encontraba en la Biblioteca del Orfeó Català (Barcelona), (E-Boc, s.s.), actualmente en paradero desconocido.
The All Souls Day’s procession is one of the highlight ritual events associated with the Omnium Sanctorum and Commemoratio omnium fidelium defunctorum festivities, which have a clear theological connection and a unified liturgical treatment. The ceremonial apparatus of these two feasts in Seville Cathedral derived from the rank, first and second respectively, they had in the Sevillian calendar. The procession had a strong emotional impact on citizenship, reflecting the influence of the doctrine of the Purgatory, and this translated into a gradual increase in private endowments that accumulated over time. In this article special emphasis is placed on the spatial - dramatically transformed in the second half of the fifteenth century - and sensory aspects of the procession’s itinerary, with particular attention to the sound elements that identified it. The idiosyncrasy and deployment of resources pertaining to this procession gave a unique character to all the two hundred and eleven processions that circulated annually through the interior of the Cathedral of Seville in the early eighteenth century.
while forming a cohesive bond among members of a specific lineage. The cult and ritual associated with death generated, under the auspices of private sponsors, diverse musical activity of considerable importance within the cathedral precincts that
extended throughout the religious establishment of Seville during the transition from late medieval to early modern society. The different types of endowments linked to death are discussed, as well as the direct and indirect musical implications arising from their foundation: for example, the creation of new performance spaces, the direct increase in musical forces, the economic improvement of those already in existence, and the composition of new repertory.
The structure of the city's three musical chapels included, besides the customary structure common to the rest of Spain, three job categories classified according to earnings. The main characteristic being that none of these positions included a fixed salary from their institutions. Their study enlightens our knowledge of musical training as well as of the qualitative and quantitative changes and development in the Granadine musical chapels, especially from late 17th century until well into the 19th century.
La presente grabación es la primera de una serie abierta de registros discográficos que esperamos sea amplia y diversa y que he titulado Huellas musicales en la Biblioteca Colombina, nombre con el que habitualmente se conoce a la que fue biblioteca particular de Hernando Colón. A lo largo de los próximos registros discográficos de esta colección exploraremos la riqueza y variedad de géneros presentes en la primigenia biblioteca de Hernando Colón, considerada como una de las bibliotecas privadas más importante de su época.
Idea original de la serie y asesoramiento musicológico e iconográfico: Juan Ruiz Jiménez
Works by: Joan Ambrosio Dalza, Francesco Spinaccino, Pierre Attaingnant and Arnolt Schlick.
Miguel Rincón, laúd
Ensemble La Danserye
Works by Francisco Guerrero, Cristóbal de Morales, Pedro Guerrero, Rodrigo de Ceballos, Juan de Urrede, Orlando di Lasso, Thomas Crecquillon, Nicolas Gombert, Pierre Sandrin, Josquin des Prez, Pierre de Manchicourt, Jacques Arcadelt, Philippe Verdelot, Clemens non Papa, Lupus Hellinck and anonymous.