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Spanish Chamber Music of the Eighteenth Century. Richard Xavier Sanchez Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1975 Spanish Chamber Music of the Eighteenth Century. Richard Xavier Sanchez Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Sanchez, Richard Xavier, "Spanish Chamber Music of the Eighteenth Century." (1975). LSU Historical Dissertations and Theses. 2893. https://digitalcommons.lsu.edu/gradschool_disstheses/2893 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and dius cause a blurred image. -
Miguel Metzeltin LOS TEXTOS CRONÍSTICOS AMERICANOS
Miguel Metzeltin LOS TEXTOS CRONÍSTICOS AMERICANOS COMO FUENTES DEL CONOCIMIENTO DE LA VARIACIÓN LINGÜÍSTICA 1. Tres fuentes Para las observaciones y reflexiones lingüísticas que propongo en esta comunicación me baso en tres textos: Bernal Díaz del Castillo (21942), Historia verdadera de la conquista de la Nueva España, Madrid, Espasa-Calpe (edición de Carlos Pereyra); - Fr. Reginaldo de Lizárraga (1909), Descripción breve de toda la tierra del Perú, Tucumán, Río de la Plata y Chile, en: Serrano y Sanz, Manuel, Historiadores de Indias, Madrid, Bailly-Baillière (N.B.A.E. 15, 485-660); Relación geográfica de San Miguel de las Palmas de Tamalameque, Gobernación de Santa Marta, Audiencia de Nueva Granada, Virreinato del Perú (hoy República de Colombia), en: Latorre, Germán (ed.) (1919), Relaciones geográficas de Indias, Sevilla, Zarzuela, 9-34. Bernal Díaz del Castillo (1495-1581) nació en Medina del Campo, pasó a América en 1514, donde se quedó hasta su muerte. Fue testigo ocular de lo que cuenta. Su manera de escribir se considera cercana a la lengua hablada: le faltaba el sentido de la forma literaria [...]. La forma literaria que sí maneja, y bien, es la del relato: revive el pasado minuto por minuto, y lo describe confundiendo lo esencial con lo accidental, como en una vivaz conversación (E. Anderson Imbert 51965, 34). Escribió la historia a sus ochenta años. Reginaldo de Lizárraga y Obando nació en Medellin (Badajoz) en 1540, pasó a Quito a los quince años, entró en la orden dominicana, ejerció varios 143 Miguel Metzeltin cargos eclesiásticos, por último el de obispo de La Asunción, donde murió (1615). -
Introduction: the Queen Versus the People 1
N OTES Introduction: The Queen versus the People 1 . J e a n n e L o u i s e C a m p a n , Memoirs of the Court of Marie Antoinette, Queen of France , ed. M de Lamartine (Philadelphia, PA: Parry and McMillan, 1854), pp. 158–159. 2 . Nancy Nichols Barker, “Revolution and the Royal Consort,” in Proceedings of the Consortium on Revolutionary Europe (1989): 136–143. 3 . Barker, “Revolution and the Royal Consort,” p. 136. 4 . Clarissa Campbell Orr notes in the introduction to a 2004 collection of essays concerning the role of the European queen consort in the Baroque era that “there is little comparative work in English on any facet of European Court life in the period from 1660 to 1800.” See Clarissa Campbell Orr, “Introduction” in Clarissa Campbell Orr (ed.), Queenship in Europe: 1660–1815: The Role of the Consort (Cambridge: Cambridge University Press, 2004), p. 2. There are strong exceptions to Orr’s conclusion, including the works of Jeroen Duidam and T.C.W. Blanning, which compare the culture, structure, and politics of Early Modern courts revealing both change and continuity but these stud- ies devote little space to the specific role of the queen consort within her family and court. See Jeroen Duindam, Vienna and Versailles: The Courts of Europe’s Dynastic Rivals 1550–1780 (Cambridge: Cambridge University Press, 2003), and T.C.W. Blanning, The Culture of Power and the Power of Culture: Old Regime Europe 1660–1789 (Oxford: Oxford University Press, 2002). 5 . See Kevin Sharpe, The Personal Rule of Charles I (New Haven, CT: Yale University Press, 1996); Bernard Bourdin, The Theological-Political Origins of the Modern State: Controversy between James I of England and Cardinal Bellamine (Washington, DC: The Catholic University of America Press, 2010), pp. -
La Zarzuela En Un Acto: Música Representada
Recitales para Jóvenes de la FUNDACIÓN JUAN MARCH Curso 201 3/201 4 La zarzuela en un acto: música representada Guía didáctica para el profesor Presentador: Ignacio Jassa o Polo Vallejo Guía didáctica: Alberto González Lapuente @ Alberto González Lapuente, 2013. (ijl Fundación Juan March - Dcparcamcnto de Actividades Culturales, 2013. Los textos contenidos en esta GuÍél Didáctica pueden reproducirse libremente citando la procedem:ia y los autores de la misma. Diseño de la Guía: Gonzalo Fernández .\'lonte. \\'WW.march.es La zarzuela en un acto: música representada e réditos LA SALSA DE ANICETA Zarzuela en un acto Música de Ángel Rubio y libreto de Rafael María Liern Estrenada el 3 de abril de 1879 en el Teatro de Apolo, Madrid Primera interpretación en tiempos modernos Real Escuela Superior de Arte Dramático Con la colaboración de la R ESAD Dirección de escena: Claudia Tobo Escenografía: Marcos Carazo Acero Vestuario: María Arévalo Iluminación: Nuria Henríquez Reparto Doña Presentación, tiple cómica: Paula lwasaki Elvira, soprano: María Rodríguez o Ruth lniesta Don Gumersindo, actor cantante: Raúl Novillo Alfredo, tenor: Julio Morales o Emilio Sánchez Piano: Celsa Tamayo o Miguel Huertas ~ - ":::::: FUNDACIÓN JUAN MARCH Recitales para Jóvenes • Gu ía didáctica La zarzuela en un acto: música representada 2 La zarzuela: una aproximación Características generales .............................................................................................................. 4 Área de influencia .......................................................................................................................... -
Popular, Elite and Mass Culture? the Spanish Zarzuela in Buenos Aires, 1890-1900
Popular, Elite and Mass Culture? The Spanish Zarzuela in Buenos Aires, 1890-1900 Kristen McCleary University of California, Los Angeles ecent works by historians of Latin American popular culture have focused on attempts by the elite classes to control, educate, or sophisticate the popular classes by defining their leisure time activities. Many of these studies take an "event-driven" approach to studying culture and tend to focus on public celebrations and rituals, such as festivals and parades, sporting events, and even funerals. A second trend has been for scholars to mine the rich cache of urban regulations during both the colonial and national eras in an attempt to mea- sure elite attitudes towards popular class activities. For example, Juan Pedro Viqueira Alban in Propriety and Permissiveness in Bourbon Mexico eloquently shows how the rules enacted from above tell more about the attitudes and beliefs of the elites than they do about those they would attempt to regulate. A third approach has been to examine the construction of national identity. Here scholarship explores the evolution of cultural practices, like the tango and samba, that developed in the popular sectors of society and eventually became co-opted and "sanitized" by the elites, who then claimed these activities as symbols of national identity.' The defining characteristic of recent popular culture studies is that they focus on popular culture as arising in opposition to elite culture and do not consider areas where elite and popular culture overlap. This approach is clearly relevant to his- torical studies that focus on those Latin American countries where a small group of elites rule over large predominantly rural and indigenous populations. -
FECIT VI Spanish Old Master Drawings FECIT VI FECIT VI Spanish Old Master Drawings
FECIT VI Spanish Old Master Drawings FECIT VI FECIT VI Spanish Old Master Drawings Acknowledgements: Ángel Aterido, Cipriano García-Hidalgo Villena, Manuel García Luque, Macarena Moralejo, Beatriz Moreno de Barreda, Camino Paredes, Laura Suffield, Zahira Véliz & Gerard Llobet Codina for his support during the last intense days of this CATALOGUE publication © of this catalogue: DE LA MANO Documentation and research: Gloria Martínez Leiva Design: Daniel de Labra Editing and coordination: Alberto Manrique de Pablo Photography: Andrés Valentín Gamazo Joaquín Cortés (cat. 30) Printers: ADVANTIA Gráfica & Comunicación DE LA MANO c/ Zorrilla, 21 28014 Madrid (Spain) Tel. (+ 34) 91 435 01 74 www.delamano.eu [1] ROMULO CINCINATO (Florence, c. 1540 – Madrid, c. 1597) Christ washing the Disciples’ Feet c. 1587-1590 Pencil, pen, ink and grey-brown wash on paper 555 X 145 mm INSCRIBED “60 Rs”, lower left corner PROVENANCE Madrid, private collection hilip II manifested a notable interest Salviati 3 but in recent years it has been thought in both the construction and the that he may have learned his profession in the pictorial decoration of El Escorial. studio of Taddeo Zuccaro due to the similarities The building was not yet completed evident between some of his works and models Pwhen the King began to have paintings sent to used by Zuccaro. 4 Nonetheless, Cincinato’s the monastery, the arrival of which are recorded work reveals a rigidity, an obsession with form in the Libros de entregas [delivery books]. 1 He and a degree of academicism much greater than was also personally involved in seeking out and that of his master. -
Gabriela Granados
Gabriela Granados (flamenco dancer/choreographer) began extensively training at the age of four in her native Perú, studying a wide range of classical and regional Spanish dances, Flamenco, Classical Ballet, Character dance and Latin American folklore. In 1980, she moved to New York where she continued her dance studies and performing career. She traveled to Spain in 1985 and made her debut at the Tablao Flamenco Los Canasteros in Madrid. Ms. Granados also studied in Seville and performed in Madrid’s renowned tablaos flamencos Las Brujas and Zambra, where she had the opportunity to work alongside Spain’s top flamenco professionals. After returning to the U.S., she became a member of the flamenco companies of Maria Benítez, Andrea del Conte and Carlota Santana. In 1996, Ms. Granados founded American Bolero Dance Company, with a mission to present other aspects of Spanish music and dance, besides Flamenco. Her company received a Heritage and Preservation grant from the NEA in 2002 and, since 2009, yearly consecutive grants from NYSCA and NYC-DCA through the Queens Council on the Arts. Her work for ABDC encompasses classical and folkloric Spanish dances, 18th Century Bolero, Zarzuela and Flamenco. In 2002, Ms. Granados established her company- affiliated Spanish Dance School, dedicated exclusively to the preservation of all these dance styles. As artistic director, dancer and choreographer of ABDC, Ms. Granados has successfully presented her productions in New York City, the Mid-Atlantic States and Europe. She created and produced “Olé! Olé!” in 1998 at Intar Theater, “Olé! Olé! Fin de Siglo” in 1999 at The Kaye Playhouse, “Spanish Gems” in 2005 at Flushing Town Hall, and “Tablao Flamenco” in 2008, which run in Astoria, Queens, through 2013 for its sixth season. -
Pasodoble PSDB
Documentación técnica Pasodoble PSDB l Pasodoble, o Paso Doble, es un baile que se originó en España entre 1533 y E1538. Podría ser considerado, en esen- cia, como el estandarte sonoro que le distingue en todas partes del mundo. Se trata de un ritmo alegre, pleno de brío, castizo, flamenco unas veces, pero siempre reflejo del garbo y más ge- nuino sabor español. Se trata de una variedad musical dentro de la forma «marcha» en com- pás binario de 2/4 o 6/8 y tiempo «allegro mo- derato», frecuentemente compuesto en tono menor, utilizada indistintamente para desfiles militares y para espectáculos taurinos. Aunque no está del todo claro, parece ser que el pasodoble tiene sus orígenes en la tonadilla escénica, –creada por el flautista es- pañol Luis de Misón en 1727– que era una Este tipo de macha ligera fue adoptada composición que en la primera mitad del siglo como paso reglamentario para la infantería es- XVII servía como conclusión de los entreme- pañola, en la que su marcha está regulada en ses y los bailes escénicos y que después, 120 pasos por minuto, con la característica es- desde mediados del mismo siglo, se utilizaba pecial que hace que la tropa pueda llevar el como intermedio musical entre los actos de las paso ordinario. Tras la etapa puramente militar comedias. –siglo XVIII– vendría la fase de incorporación de elementos populares –siglo XIX–, con la El pasodoble siempre ha estado aso- adición de elementos armónicos de la seguidi- ciado a España y podemos decir que es el baile lla, jota, bolero, flamenco.. -
Program Notes Adam Mitchell (B
Program Notes Adam Mitchell (b. 1990) is a 5th year vocal music education major studying voice with Louise Toppin at the Uni- versity of North Carolina at Chapel Hill. He currently sings with the UNC Men’s Glee Club under director Dr. Dan Huff and is enrolled in the UNC-BEST program for music education. A native of Wilmington, NC, Adam entered UNC in fall of 2008 with intent to study pharmacy before switching to music the next year. He has studied guitar since age fourteen, and has been playing and singing professionally since age eighteen. Since then, Adam has performed in restaurants and venues in Wilmington, Chapel Hill, and Durham, most notably Jack Sprat Café and The Franklin Hotel, where he regularly performs one to two times a month. As a classical vocalist, Adam has performed recitals in both Wilmington and Chapel Hill for public schools, nursing homes, and university functions and has performed as a soloist for UNC Men’s Glee Club. Adam also spent a two week intensive study in Spanish art song repertoire at La Escuela Superior de Canto de Madrid where he performed on recitals and master classes focused on bettering the understanding and performance of Spanish song. In addition to performing, Adam cur- rently teaches private voice, guitar, and drum lessons. As a composer and songwriter, he has completed seven pop songs, one piece for classical guitar entitled La Corrida, and a musical setting of four poems by Shel Silverstein for classical voice and piano. In addition to composing, Adam has also arranged Every Time We Touch by Cas- cada for pep band and The Beatles’ Let it Be for men’s choir. -
Crying Across the Ocean: Considering the Origins of Farruca in Argentina Julie Galle Baggenstoss March 22, 2014 the Flamenco
Crying Across the Ocean: Considering the Origins of Farruca in Argentina Julie Galle Baggenstoss March 22, 2014 The flamenco song form farruca is popularly said to be of Celtic origin, with links to cultural traditions in the northern Spanish regions of Galicia and Asturias. However, a closer look at the song’s traits and its development points to another region of origin: Argentina. The theory is supported by an analysis of the song and its interpreters, as well as Spanish society at the time that the song was invented. Various authors agree that the song’s traditional lyrics, shown in Table 1, exhibit the most obvious evidence of the song’s Celtic origin. While the author of the lyrics is not known, the word choice gives some clues about the person who wrote them. The lyrics include the words farruco and a farruca, commonly used outside of Galicia to refer to a person who is from that region of Spain. The use of the word farruco/a indicates that the author was not in Galicia at the time the song was written. Letra tradicional de farruca Una Farruca en Galicia amargamente lloraba porque a la farruca se le había muerto el Farruco que la gaita le tocaba Table 1: Farruca song lyrics Sources say the poetry likely expresses nostalgia for Galicia more than the perspective of a person in Galicia (Ortiz). A large wave of Spanish immigrants settled in what is now called the Southern Cone of South America, including Argentina and Uruguay, during the late 19th century, when the flamenco song farruca was first documented as a sung form of flamenco. -
University of Dundee MASTER of PHILOSOPHY Changing British Perceptions of Spain in Times of War and Revolution, 1808 to 1838
University of Dundee MASTER OF PHILOSOPHY Changing British Perceptions of Spain in Times of War and Revolution, 1808 to 1838 Holsman, John Robert Award date: 2014 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 MASTER OF PHILOSOPHY Changing British Perceptions of Spain in Times of War and Revolution, 1808 to 1838 John Robert Holsman 2014 University of Dundee Conditions for Use and Duplication Copyright of this work belongs to the author unless otherwise identified in the body of the thesis. It is permitted to use and duplicate this work only for personal and non-commercial research, study or criticism/review. You must obtain prior written consent from the author for any other use. Any quotation from this thesis must be acknowledged using the normal academic conventions. It is not permitted to supply the whole or part of this thesis to any other person or to post the same on any website or other online location without the prior written consent of the author. -
Genealogy of the Royal House of Bourbon - Two Sicilies
GENEALOGY OF THE ROYAL HOUSE OF BOURBON - TWO SICILIES HRH Prince D. PEDRO Giovanni María Alejo Saturnino y Todos los Santos, DUKE OF CALABRIA, COUNT OF CASERTA (succeeded 5 October 2015, assumed these titles as Head of the Royal House on 6 November 2015) was created DUKE OF NOTO (by his father following his birth), born at Madrid 20 Apr 1971, Grand Master of the Sacred Military Constantinian Order of Saint George, Grand Master of the Illustrious Royal Order of Saint Januarius, Grand Commander of the Order of Alcántara, Bailiff Grand Cross of Honour and Devotion of the Sovereign Military Order of Malta, Grand Cross of the Order of the Immaculate Conception of Vila Viçosa, married at Madrid, 30 Mar 2001 D. Sofia Landaluce y Melgarejo, born Madrid, 23 Nov 1973, (H.R.H. the Duchess of Calabria), Dame Grand Cross of Justice of the Sacred Military Constantinian Order of Saint George, and has issue, 1) HRH Prince D. JAIME de Borbón-dos Sicilias y Landaluce, DUKE OF Noto, born Madrid 26 June 1992, Grand Prefect and Knight Grand Cross of Justice of the Constantinian Order, Grand Constable of the Royal Order of Saint George of the Reunion, Knight of Alcántara, Knight of Honour and Devotion of the Sovereign Military Order of Malta, 2) HRH Prince D. Juan de Borbón-dos Sicilias y Landaluce, born 19 Apr 2003 3) HRH Prince D. Pablo de Borbón-Dos Sicilias y Landaluce, born Madrid 28 Jun 2004 4) HRH Prince D. Pedro born Madrid, 3 Jan 2007 5) HRH Princess D. Sofia, born Madrid 12 Nov 2008 6) HRH Princess D.