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Contact: [email protected] The Villancico in New Spain 1650–1750: Morphology, Significance and Development by John Swadley Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2014 Abstract ........................................................................................................................ 3 List of Abbreviations and Acronyms ............................................................................. 4 List of Figures ............................................................................................................... 5 Preface .......................................................................................................................... 7 Scope of the Study .................................................................................................... 8 Aims of the Thesis .................................................................................................. 12 General Considerations on Translations .................................................................. 16 Acknowledgements ................................................................................................. 17 Chapter 1: New Spain in Historical Context ................................................................ 18 1.1 The Institutional Context: Cathedral and Convent ......................................... 22 1.2 The Institutional Context II: The Cathedral Network of New Spain ................... 28 1.3 Musical New Spain at Mid-Seventeenth Century ............................................... 34 Chapter 2: General Introduction to the Villancico ........................................................ 44 2.1 Scholarship on Generic and Formal Aspects of the Villancico ........................... 45 2.2 Defining the Villancico circa 1600: Covarrubias’ Lexicon, Cerone’s Treatise and the Poetry Manuals of Rengifo and Carvallo ........................................................... 49 2.3 Common Morphology of the Villancico: Estribillo and Coplas ......................... 55 2.4 Liturgical Function of the Villancico ................................................................. 58 2.5 Villancico Verse ................................................................................................ 64 2.6 Summary ........................................................................................................... 69 Chapter 3: The Villancico in New Spain circa 1650 .................................................... 72 3.1 Juan Gutiérrez de Padilla ................................................................................... 74 3.2 Gutiérrez de Padilla’s Puebla Villancicos .......................................................... 95 3.3 Characteristics of Padilla’s Puebla Cathedral Villancicos .................................. 97 3.4 Formal Models in Padilla’s Villancicos ............................................................. 99 3.5 Polychoral Treatment of the Choir ................................................................... 103 3.6 Harmony and Bass of the Seventeenth-Century Villancico .............................. 107 3.7 Harmonic Aspects at Mid-Seventeenth Century ............................................... 110 3.8 The Seventeenth-Century Bass ........................................................................ 118 3.9 Rhythm and Metre in the Seventeenth-Century Villancico ............................... 121 3.10 Conclusions ................................................................................................... 127 Chapter 4: Excursus I, The Villancico de Negros....................................................... 129 Chapter 5: Excursus II, Sor Juana and the Villancico ................................................. 150 5.1 Sor Juana’s Villancicos: Puebla, Mexico City and Oaxaca ............................... 157 1 5.2 Conclusions ..................................................................................................... 166 Chapter 6: The Villancico in the Later Seventeenth Century ...................................... 168 6.1 Antonio de Salazar .......................................................................................... 170 6.2 The Villancicos of Antonio de Salazar ............................................................. 191 6.3 Conclusions ..................................................................................................... 214 Chapter 7: The Bourbon Century .............................................................................. 216 7.1 Manuel de Sumaya .......................................................................................... 227 7.2 The Villancicos of Manuel de Sumaya ............................................................. 249 7.3 Conclusions ..................................................................................................... 264 Chapter 8: The Villancico in Feminine Institutions in New Spain: Convents and Colegios .................................................................................................................... 266 8.1 Contexts of Female Monasticism in New Spain ............................................... 271 8.2 Women’s Voices ............................................................................................. 274 8.3 The Villancicos of the Holy Trinity Convent ................................................... 282 8.4 The Bourbon Century in the Feminine Institutions ........................................... 293 8.5 The Colegios de Niñas..................................................................................... 297 Chapter 9: Ignacio de Jerusalem ................................................................................ 306 Chapter 10: General Conclusions .............................................................................. 315 Bibliography ............................................................................................................. 320 Word count: 101, 912 2 Abstract For almost three centuries, the sacred villancico was the primary vernacular musical form of Spain and its New World colonies. Consisting of a through-composed estribillo, or refrain, and a set of strophic coplas, or verses, these ‘devout and honest songs’ (as they were styled by the Third Mexican Provincial Council of 1585) featured in the Matins services of the cathedrals and convents of Mexico throughout the colonial period. This thesis traces the morphology, development and significance of the villancico in New Spain during the one hundred year period from 1650 to 1750, examining the musical development of the genre within the institutional contexts of cathedral, convent and girls’ school. The biographies and villancico oeuvres of the composers Juan Gutiérrez de Padilla, Antonio de Salazar, Manuel de Sumaya, and others who moved in their orbits are reconsidered in light of new music and documentation, while the supposed New World phenomenon of the villancico de negros, or African dialect villancico, receives fresh attention. In separate chapters, the feminine side of genre is examined. The musical aspects of the life of the Hieronymite nun Sor Juana Inés de la Cruz are considered from the viewpoint of the music historian, while the practice of the villancico in the feminine institutions of New Spain is explored. Focussing on period documents as a means of enriching the historical narrative, the thesis is intended as an interpretation of the villancico genre for the English-speaking reader. 3 List of Abbreviations and Acronyms Acomp. Spanish acompañamiento, accompaniment CENIDIM Centro Nacional de Investigación, Documentación e Información Musical GCA-Gc Music Archive of the Guatemala cathedral INBA Instituto Nacional de Bellas Artes MEX-Gcm Music Archive of the Guadalajara cathedral MEX-Mc Music Archive of the Mexico City cathedral MEX-Oc Music Archive of the Oaxaca cathedral 4 List of Figures Figure 1 The novohispanic cathedral network Figure 2 Villancicos sung at Christmas Matins at Puebla Figure 3 Juan Gutiérrez de Padilla, La noche más buena, coplas Figure 4 Juan Gutiérrez de Padilla, A prevenciones del cielo Figure 5 Juan Gutiérrez de Padilla, Zagalejos amigos Figure 6 Juan Gutiérrez de Padilla, accompaniment part Figure 7 Metre of minor proportion in Nada lejos de razón Figure 8 Manuel de Quirós, Venga turo Flanciquillo Figure 9 Comparative rhythmic notation in Ah siolo Flasiquiyo Figure 10 Comparative 1704/1709 Mexico City cathedral payroll Figure 11 Antonio de Salazar, Digan quae es iste Figure 12 Antonio de Salazar, Repiquen alegres Figure 13 Antonio