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RESPONDÁMOSLE a CONCIERTO Nacional De Música Antigua, Entre Ellos Jordi Savall (Capella Reial De Catalunya, Hesperion XXI) Y Carles Magraner (Capella De Ministrers)

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RESPONDÁMOSLE a CONCIERTO Nacional De Música Antigua, Entre Ellos Jordi Savall (Capella Reial De Catalunya, Hesperion XXI) Y Carles Magraner (Capella De Ministrers) Maricarmen Gómez Muntané (Barcelona, 1949) es reconocida como una de las máximas autoridades en música española de los períodos medieval y renacentista. Titulada como profesora de música y de piano por el Conservatorio del Liceu, Gómez Muntané se doctoró con un trabajo sobre la música en la corte de la Corona de Aragón entre 1336-1432 que le valió el Premio Nacional de Musicología. Tras un primer período de formación en el Instituto Español de Musicología (CSIC), obtuvo una beca de la fundación Alexander von Humboldt (eds.) para una estancia de investigación en el Institut für Musikwissenschaft de la Sergi Zauner Sergi Universidad de Göttingen. Al abrigo de la incomparable tradición musicológica Eduardo Carrero germana y bajo la supervisión de alguno de sus nombres más ilustres, esta estancia marcaría para siempre la metodología y estilo de Gómez Muntané, imprimiendo en ella el que siempre ha sido uno de sus sellos característicos: la proyección internacional, algo singular en la musicología española de la década de los ochenta. En 1985 se incorporó a la Universitat Autònoma de Barcelona, institución a la que ha permanecido vinculada hasta la fecha: ocupó inicialmente un cargo de profesora titular, la cátedra de Música antigua después, y el título de profesora emérita desde su reciente jubilación. A lo largo de estos años ha sido profesora invitada en las Universidades de Princeton y North Texas, ha colaborado con instituciones docentes nacionales y extranjeras, y ha desempeñado el cargo de Director-at-large de la Asociación Internacional de Musicología. De su actividad como investigadora cabe destacar su vocación interdisciplinar, manifiesta en una constante colaboración con especialistas en Historia del arte y de la literatura, así como su interés por acercar a la sociedad los resultados de su labor musi- cológica a través de la cooperación con los principales actores de la escena RESPONDÁMOSLE A CONCIERTO nacional de música antigua, entre ellos Jordi Savall (Capella Reial de Catalunya, Hesperion XXI) y Carles Magraner (Capella de Ministrers). Estudios en homenaje a Maricarmen Gómez Muntané Autora de una larga lista de artículos y ediciones musicales, ha sido coordinadora y editora de obras de referencia en la materia. Entre sus libros destacan: La música en la Casa Real Catalano-Aragonesa durante los años 1336-1432 (Bar- Eduardo Carrero celona, 1979), El canto de la Sibila I. Castilla y León II: Cataluña y Baleares (Madrid, 1996–7), Món i misteri de la Festa d'Elx: consueta de 1709 (Valencia, Sergi Zauner 1986) [con J.F. Massip], El manuscrito M971 de la biblioteca de Catalunya: Misa (eds.) de Barcelona (Barcelona, 1989), Bartomeu Cárceres: Opera omnia (Barcelona, 1995), La música medieval en España (Kassel, 2001), Las Ensaladas (Praga, 1581) (Valencia, 2008), El Llibre Vermell. Cantos y danzas de fines del Medioevo studios en homenaje a Maricarmen Gómez Muntané E (Madrid, 2017), Pedro de Pastrana (c.1495-1563). Antología polifónica (Valencia, RESPONDÁMOSLE A CONCIERTO 2019). 2020 RESPONDÁMOSLE A CONCIERTO Estudios en homenaje a Maricarmen Gómez Muntané Eduardo Carrero Sergi Zauner (eds.) 2020 Ilustración de la cubierta: Coro cantando, Anton Woensam (1529) © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCom- mercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence. © De la edición: Institut d’Estudis Medievals (Universitat Autònoma de Barcelona) © De los textos: autores de los artículos Maquetación: Jorge y Míriam Ardévol ISBN: 978-84-121566-5-2 ÍNDICE PRELudiO Stella Splendens in Barcelona (En homenaje a Maricarmen Gómez) 7 Jose M. García Laborda COntRibuciOnes Una nova edició crítica i la traducció catalana del Planctus monialis 25 Jesús Alturo yTània Alaix Fletxa «el vell» en xifres: L’ensalada La bomba segons Miguel de Fuen- 31 llana Francesc Xavier Alern De manuscritos olvidados: los cantorales del antiguo monasterio de 43 Santa Engracia de Zaragoza guardados en el Museo Arqueológico Nacional de Madrid David Andrés Fernández y Carmen Morte García Ripoll & Compostela: Arnaldo de Monte y el Codex Calixtinus 65 Juan Carlos Asensio Oír la arquitectura medieval. Sobre la experiencia sonora en los monas- 77 terios de Císter Eduardo Carrero Santamaría Sabia, reina y profetisa: la fortuna de la Sibila en Bizancio 99 Manuel Castiñeiras El Juicio Final en las Sententiae de Isidoro de Sevilla 117 Eva Castro Ramos de Pareja, pensamiento musical y reforma en la Salamanca del 127 siglo xv Santiago Galán Can the Pictures tell the Story? Reflections on images in some Sydney 139 Spanish manuscripts. Jane Morlet Hardie A Case of a Non-Musical Religious Performance in the 16th Century 151 Valencia Ferran Huerta La música musicóloga 159 Carles Magraner Ballar la mort: de conductus a contrapàs 171 Francesc Massip The Sacramentario de Sahagún and an Exultet 185 Kathleen Nelson The querelle des clés. An episode in Francisco Frontera de Valldemosa’s 199 exuberant life Antoni Pizà Una teoría musical en Setenario de Alfonso el Sabio 215 Pepe Rey Alcuino, O Mea Cella 229 Daniel Rico Cartografía digital de espacios sonoros: una innovadora aproximación 235 metodológica en los estudios de musicología urbana Juan Ruiz Jiménez Arte, música y liturgia en Sant Miquel de Terrassa 249 Carles Sánchez Márquez Litúrgia i musicología, dues ciències humanístiques en col·laboració 263 Gabriel Seguí i Trobat Los comienzos de una larga historia: Primeras fuentes del Miserere 275 hispánico Sergi Zauner Joi de trovar e joi de chantar. Quelques reflexions sur le plaisir de 293 chanter le trobar Gérard Zucchetto PRELUDIO 1 STELLA SPLENDENS IN BARCELONA José M. García Laborda Universidad de Salamanca Maricarmen Gómez Muntané, Catedrática de Música Antigua en la Universidad Autónoma de Barcelona, se ha convertido por derecho propio en un referente internacional en el campo de la investigación de la música medieval en Cataluña. Sus múltiples investigaciones y conferencias por todo el mundo así lo avalan. De ella se ha dicho que es la «más importante historiadora sobre la música en la Corona de Aragón a fines del Medioevo, que acopla una vasta erudición musical, histórica y cultural con una aguda sensibilidad estética». Con estas palabras ya he ubicado, por el momento, el marco en el que se sitúa mi aportación en este libro, ya que no me toca a mí destacar ahora su magnífico perfil biográfico. Solamente quiero decir que es un gran honor y una enorme satisfacción participar en este homenaje a Maricarmen junto a destacados colegas musicólogos. Aunque nuestros campos respectivos de trabajo se han movido en los dos extre- mos de la investigación histórica, Maricarmen se ha acercado igualmente con ha- bilidad y facilidad a la música moderna, y al pedirme amablemente alguna colabo- ración para sus proyectos académicos, ha surgido entre nosotros una cooperación muy fructífera, que ha permitido una entrañable amistad desde hace años. En esta ocasión soy yo el que se acerca a su área de investigación del siglo xiv y lo hago con esta breve pieza musical para piano, basada en una de las composicio- nes que aparecen en el famoso Llibre Vermell de Montserrat, la célebre colección de cantos y danzas de fines del Medioevo, que ella ha estudiado en profundidad y que ha editado recientemente. Mi obra es una sencilla recreación de una de las piezas más interpretadas de la colección, la cantilena Stella Splendens. A lo largo de diversas variantes, el piano elabora estructuras modales y diatónicas muy repetitivas, sazonadas con acordes más complejos, pero al margen de cualquier experimentalismo. El intervalo de segunda mayor, con el que da comienzo la pieza original, actúa como una especie de eje melódico-armónico que engarza toda la composición. La combinación de diversos elementos rítmicos, junto a continuos «campos de disolución métrica», hacen destacar los contrastes de la composición. JOSÉ M. gaRCÍA LabORda Maricarmen es una stella splendens de la investigación de la música antigua que brilla con luz propia en su ciudad natal de Barcelona. De ahí el título de mi composición para piano, que pretende reflejar el esplendor de su figura a través de este guiño hacia la música medieval, homenajeando a una persona que lo sabe todo en esa materia. stella splendens IN BARCELONA SSTELLATELLA SPLENDENSSPLENDENS ININ BARCELONABARCELONA (HOME(HomenajeNAJE A M aA MaricarmenRICARMEN GómezGÓME Muntané)Z MUNTANÉ) JOSE MJosé. GA M.RC ÍGarcíaA LAB LabordaORDA D D D j >œ œ >œ >œ j œ œ 2 3 œ œ œ œ œ 2 œ œ- & 4 Œ #œœ ˙˙ œœ œ #œœ nœ ˙ 8 ‰ œ œ ‰ œ ‰ œ bœ 4 œ nœœ œ- ˙ œ œ-œ œ- œœ ˙˙ œ œ œ bœ J Piano ∏ - > J > ƒ π ? 2 Œ œ ˙ œ œ 3 ‰ ‰ ‰ ‰ ‰ ‰ 2 œ 4 œ ˙ œ œ œ bœ ˙ 8 j j j 4 œ ∏œ- ˙ œ œ œ- bœ ˙ œ œ œ - - - > > > œ ° * ƒ > ° √ 10 D j j b>œ U - œ œ jb œ œ. œ. œ. j œ œ œ 3 œ œ œ bœ œ bœ bœ œ œbœ œ #œ #œ œ œ. 2 & œœ œœ œœ bœœ 8 ‰ œ œ ‰ œ ‰bbœ bœ ‰ J œ œ œ œ œ œ œ #œ. œ. 4 - - œ bœ œ b œ J J . - - - - Pno. ƒ> > > > f p U ? œ œ œ bœ 3 j 2 œ œ œb œ 8 j‰ ‰ ‰ j‰ j ‰ ‰ œ. ‰ œ œ œ œ. bbœ. 4 œ œ- œ- bœ œ œ œ. œ œ œ œ. bœ. - > bœ * ƒ f p D 20 D √ . œ. œ œ. œ. œ. œ œ œ. bœ. nœ. 2 bœ.bœ bœ œ œ œ bœ œ 3 œ bœ œ œ #œ nœ œ œ #œ œ œ #œ. œ. œ #œ nœ j j 2 & 4 Œ J œ bœ œb œ œ 8 ‰ J J œ œ œ œ # œn œ œ bœ 4 J J 3 œ Pno.
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