The orchestrally-accompanied 'villancico' in Mexico in the eighteenth century.
Item
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Title
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The orchestrally-accompanied 'villancico' in Mexico in the eighteenth century.
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Identifier
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AAI9000661
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identifier
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9000661
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Creator
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Gonzalez-Quinones, Jaime.
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Contributor
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Adviser: Barry S. Brook
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Date
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1985
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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The orchestrally-accompanied villancico is the most frequent non-liturgical genre from the 18th century in Mexican archives.;The villancico is a three-part poetic form with a refrain (estribillo), which originated in Arab poetry in Spain, with antecedents before 622 AD. The muwashshah (created ca. 888 in Spain), imitated by Hispano-Jewish poets in Hebrew with some words in early Spanish, gave birth to the zejel, which was imitated in the Spanish and Gallician-Portuguese literatures. This form had a number of derivations: the villancico was one of them. In the 15th century the religious villancico developed. In the 16th century the villancico reached Mexican shores, where it is still preserved.;The musical origins are not traceable as far back as the literary origins. The first antecedent appears in the troubadour Bernart de Ventadorn (died ca. 1200). Later stages of the evolution appear in the Cantigas de Santa Maria, the Llivre Vermell, the Cancionero de Palacio, the Cancionero de Upsala, the Libro de Cifra Nueva ... (1557) by Venegas de Henestrosa, and the Canciones y villanescas espirituales by Guerrero (died 1599). An instrumental villancico appeared in the 16th century, with instances by Milan (1536), Narvaez (1538), et al. In the 17th century there are choral villancicos with several movements by Spanish as well as Mexican composers.;The orchestrally-accompanied villancicos found in the Mexican archives of the 18th century are compositions for one to three vocal choirs, either with or without soloists, accompanied by a chamber orchestra, usually with first and second violins plus basso continuo, but with instances including flutes, oboes, bassoons, horns, trumpets, violas, and kettle-drums. The texts are mostly in Spanish with a few instances in Latin. Villancicos have one to five movements, basically estribillo and coplas. The composers, both European and Mexican, are usually known. Poets are always anonymous.;The biographies of all the composers transcribed are included. The thematic catalogue referrs to 112 works from six archives: Durango, Guadalajara, Mexico City, Morelia, Oaxaca, and Puebla.;Volume II presents the transcriptions of 21 compositions by Abella Grijalva, Jerusalem, Lopez de Castro, Mallen, Nebra, Perez, Picanol, Rabassa, Rueda, Sumaya, Te y Sagau, and Torres.
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Type
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dissertation
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Source
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PQT Legacy Restricted.xlsx
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degree
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Ph.D.