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作者 Amante y Zapata, Joseph John
書名 Sacred choral music in colonial Mexico, 1650--1750: An introduction
國際標準書號 9780496411153
book jacket
說明 111 p
附註 Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 1891
Adviser: William J. Dehning
Thesis (D.M.A.)--University of Southern California, 2002
Although much research exists regarding the performance practice of European sacred music in the colonial era, little research has been available regarding the performance practice of sacred polyphony in colonial Mexico. Music of this colonial era is often ignored or redefined through the lens of modern day ethnomusicologists or anthropologists whose methods may not reveal the music's original nature and purpose. Concurrent with a lacuna in research is a revitalization in interest in performing unpublished material from the Americas, perhaps due to the tercentennial anniversaries of European composers Schutz, Bach, and Handel. With this resurgence of interest, several colonial Mexican pieces have now been transcribed and are available to performers. However, little information exists that clarifies the performance of Mexican colonial music, thus enabling contemporary musicians to place a sacred work of this era in some context and perform it in a style that is in keeping with its origins
Over the last twenty years some solid information has emerged that contributes to our knowledge base in this area. This paper brings together research from recent publications and dissertations to begin to describe more fully the practice of sacred music in colonial Mexico. Performance practices that are discussed include vocal production and singing styles, size and makeup of performing forces, genres of choral music performed, and the use of instruments in vocal performance. To contextualize the performance of sacred Mexican music, this paper also includes several period manuscripts unknown to most musicologists, obtained through the graciousness of the late Fr. Fernando Vazquez Nunez, archivist of Oaxaca Cathedral front the 1960s until his death in 1999; Jorge Francisco Mejia Torres, Director of the Centro de Iniciacion Musical de Oaxaca; and Fr. Humberto Medina, the Director of Oaxaca Cathedral. Included in the text are digitally photographed period manuscripts, as well as a detailed transcription by of a four-voice introit by Juan Perez de Guzman, "Concierto a cuatro para la Oposicion del Maestro de Capilla de la Catedral de Oaxaca" (1708)
School code: 0208
Host Item Dissertation Abstracts International 64-06A
主題 Music
0413
Alt Author University of Southern California
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