Ursulines, Music from the Court of Louis
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THE NEW WORLD ORDER: URSULINES, MUSIC FROM THE COURT OF LOUIS XIV, AND EDUCATIONAL OUTREACH IN EIGHTEENTH-CENTURY NEW ORLEANS by KIM PINEDA A DISSERTATION Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2014 DISSERTATION APPROVAL PAGE Student: Kim Pineda Title: The New World Order: Ursulines, Music from the Court of Louis XIV, and Educational Outreach in Eighteenth-Century New Orleans This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Music and Dance by: Dr. Marc Vanscheeuwijck Chairperson Dr. Lori Kruckenberg Core Member Dr. Marian Smith Core Member Dr. Fabienne Moore Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Kim Pineda This work is licensed under a Creative Commons Attribution-NonCommercial -NoDerivs (United States) License. iii DISSERTATION ABSTRACT Kim Pineda Doctor of Philosophy School of Music and Dance June 2014 Title: The New World Order: Ursulines, Music from the Court of Louis XIV, and Educational Outreach in Eighteenth-Century New Orleans When a group of Ursuline nuns arrived in New Orleans from Rouen in 1727 it significantly changed the sacred musical landscape in the Louisiana Territory of New France. The women brought with them their commitment to education, a tradition of using music in their worship, and music similar to that performed in the Chapelle Royale of Louis XIV. Before 1727 the practice of sacred music in New Orleans was practical and simple, established by Capuchin priests in 1725 with the construction of a school and a makeshift church. The construction of the Ursulines' own permanent building in 1734 allowed the nuns to further emphasize their commitment to education through music. After the Ursulines arrived in New Orleans, the first French settlers were from wealthy and noble families that had a need and yearning for homeland familiarity and culture. In 1730 the Ursulines solidified their educational mission in New Orleans by establishing a lay confraternity with a group of French women colonists that secured a bridge of continuity between the nuns, the religious culture of France, and the members of the colony. In 1754 the sisters were given a manuscript entitled Nouvelles Poésies spirituelles et morales , copied in Paris in 1736. Now known as the Ursuline Manuscript, the collection contains music by composers active in the reign of Louis XIV. It is not iv known if the manuscript was prepared specifically for the nuns, but by examining the music in this manuscript—which contains well-known instrumental works turned into sacred vocal parodies—I will demonstrate that regardless of the copyist’s intention, the music in the manuscript filled a need for such a document given the physical and cultural landscape in which the collection found itself. I will also discuss the importance of the manuscript and its place in the study of music history in North America, including a comparison between French and other European musical practices that were maintained in the New World in the eighteenth and early nineteenth centuries. v CURRICULUM VITAE NAME OF AUTHOR: Kim Pineda GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, Oregon Washington University, St. Louis, Missouri California State University, Northridge, California Ventura College, Ventura, California DEGREES AWARDED: Doctor of Philosophy, Musicology, 2014, University of Oregon Master of Music, Historical Performance Practices, 1985, Washington University in St. Louis Bachelor of Music, Recorder Performance, 1983, California State University, Northridge Associate in Arts, Liberal Studies, 1980, Ventura College AREAS OF SPECIAL INTEREST: French and Spanish colonial and mission music in the Americas Rhetoric and music Music and gender PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2009 - 2013 Music Director, Baroque Northwest, Seattle, WA, 1997-Present Seattle Pacific University, Seattle, WA, 2001-2013, SPIRAL Course MUS 5058, Baroque Performance Clinic GRANTS, AWARDS, AND HONORS: Graduate Research Award, University of Oregon, National Flute Association Annual Convention, 2011 Promising Scholar Award, University of Oregon, 2008 vi PUBLICATIONS: Pineda, Kim. “Go big or go home: Eighteenth-century real-time composition.” Poster-research presentation and abstract, Proceedings of the American Musicological Society Southwest Chapter , Volume 3, Spring 2014 Issue, ISSN: 2330–1309 Pineda, Kim. “Primary Stimulation: Learning to Play Historical Flutes from Primary Sources.” Traverso 12, no. 3 (July 2000): 9–11. Pineda, Kim. Liner notes to Johann Sebastian Bach: Compositions for Transverse Flute . Kim Pineda, Transverse flute. Focus 944 CD. 1994. vii ACKNOWLEDGMENTS The debt of gratitude begins with my wife, Marika Pineda, for every imaginable type of support a person could give during this type of endeavor. If not for her, these words would not be. When things seemed chaotic during the research and writing her calm and logical observations helped return the dispositio of my dissertation to its proper place. There is not enough space to adequately thank my dissertation advisor and committee members. I am perpetually grateful to my dissertation committee chair Dr. Marc Vanscheeuwijck for encouraging me throughout the project and helping me find my voice as a writer, as well as his invaluable help with translations, suggestions for primary sources and secondary literature that helped frame my research goals, creating a path for future research, and for insuring that I kept my focus while writing. I am indebted to Dr. Lori Kruckenberg for her reading of countless drafts of my dissertation proposal, conference papers extracted from my research, directing me to secondary literature that help support my arguments, in addition to helping me with the craft of writing and attention to detail while keeping my eye on the big picture. Thank you to Dr. Marian Smith, for stressing the importance of details, no matter how small, and for pointing out that some readers view the footnotes as the best part of any writing, and to Dr. Fabienne Moore for her help in presenting a panoramic view in the dissertation and reminding me that not everyone who reads my work is a musicologist. I regret that Dr. Anne Dhu McLucas is not here to see the completion of the project because her assistance in refining the scope of the dissertation was inspiring and she also served as my personal archivist; in a casual conversation after a seminar she viii shared with me many resources to consider in my work. Over the next several months, when I hesitated in retrieving this immense amount of data in my meetings with her, she reminded me what the sources were and where to find them. Thank you to the staff at The Historic New Orleans Collection and Williams Research Center (Alfred Lemmon, Eric Seiferth, Daniel Hammer) for their generosity in time and resources, Dr. Gordon Sayer for directing me towards new translations of primary sources, Dr. Jean-Paul Montagnier for his insight on monastic and convent music performance practices and for references to additional secondary literature, Dr. Andrew Dell’Antonio for providing me with additional secondary literature on the Ursuline Manuscript, Dr. Craig Russell for his encouragement during the initial stages of research, Jonathan Dunford for his assistance in identifying one of the unknown composers in the Ursuline Manuscript, and, finally, heartfelt thanks to my classmates at the University of Oregon— Dr. Mark Samples, Dr. Susanne Scheiblhofer, and Dr. Helena Kopchick Spencer—for their comments, observations, and additional insights during the writing process. ix For Gloria, Louis, René, and Danielle. x TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 II. EARLY EXPLORATION AND SETTLEMENT OF NORTH AMERICA, THE MISSISSIPPI VALLEY, LOUISIANA, AND NEW ORLEANS .......................... 25 III. URSULINE MUSICAL ACTIVITY IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES ............................................................................... 42 IV. THE URSULINE MANUSCRIPT AND ITS LIKELY USE IN EIGHTEENTH-CENTURY NEW ORLEANS ..................................................... 75 Eight Case Studies ................................................................................................. 91 1. François Couperin ................................................................................ 91 2. François Couperin ................................................................................ 95 3. Bertrand de Bacilly/Jacques-Martin Hotteterre ................................... 97 4. Jean-Baptiste Drouart de Bousset/J.-M. Hotteterre ............................. 100 5. Maurizio Cazzati .................................................................................. 104 6. Marin Marais ........................................................................................ 109 7. André Campra ...................................................................................... 112 8. Toussaint Bertin de La Doué ..............................................................