Mark Brill B.A., Oberlin College, 1987 J.D., Loyola University, 1990 M.A., Tulane University, 1992

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Style and Evolution in the Oaxaca Cathedral: 1600-1800

Mark Brill B.A., Oberlin College, 1987 J.D., Loyola University, 1990 M.A., Tulane University, 1992

DISSERTATION

Submitted in partial satisfaction of the requirements for the degree of

DOCfOR OF PHILOSOPHY

MUSIC

in the

O~CEOFGRADUATESTUD~

of the

UNIVERSITY OF CALIFORNIA

DAVIS

Approved:

Committee in Charge

1998

. -1- UMi Humber: 9920245

This microform edition is protected against unauthorized copying under Title 17, United States Code.

UMI 300 North Zeeb Road Ann Arbor, M148103 Acknowledgments

First and foremost, I would like to thank Dr. Robert Stevenson, the father of us all, without whom it would have taken another half-century for this dissertation to be written. His contributions to our field cannot be exaggerated. His personal comments and advice were invaluable throughout the process of putting this study together. I also wish to thank the "'Next Generation" of hispanicists, a tight and always congenial group of brilliant scholars who follow in the giant foot• steps of Dr. Stevenson. They include, in alphabetical order: Enrique Arias, Walter Clark, Carol Hess, Bernardo lllari, John Koegel, Paul Laird, Craig Russel, Leonora Saavedra, Michael Strasser, William Summers and Grayson Wagstaff, all of whom at one time or another helped this study along. I also would like to thank the Centro Nacional de Investigaci6n, Documentaci6n e Infonnaci6n--known to all students of Mexican music as C.E.N.I.D.LM.-for their assistance. In particular, a giant debt is owed to Aurelio Tello, whose ground-breaking work in the archives of the Oaxaca Cathedral paved the way for this study. In Oaxaca, I cannot thank enough the venerable Padre Fernando Vazquez Nuiiez, tireless guardian of the archives for almost half-a-century, who shared his realm with utmost grace. I am also indebted to Jesus Lizama Quijano, administrator of the restoration project in Oaxaca, who readily shared his findings with me. I am greatly indebted to Tom Brodhead, not only for his help with the transcriptions, but also for reminding me at every tum what this is all about. .. 11 In Davis, the help and support of the all the graduate students and the entire staff of the music department made it possible to survive-though sometimes just barely-the graduate school experience. In particular, I would like to tbank Rhio Barnhardt, Mathew Daines, Suzanne Elder• Wallace, Patty Flowers, Carol Hess, Katherine Jang-Schu1ke, Don Meyer, and John Palmer. This dissertation is of course directly indebted to the members of my committee: David Nutter, Christopher Reynolds and Charles Walker. Their comments, suggestions and reviews shaped an evolving idea which finally resulted in this document. The entire music faculty at the University of California-Davis has provided unconditional support for which I will always be grateful. In addition to the members of my committee, I would like to thank Robert Bloch, Anna-Maria Busse-Berger, Jonathan Elkus, Zoila Mendoza-Walker, Pablo Ortiz, and Wayne Slawson. A special acknowledgment to D. Kern Holoman is in order, for his years of friendship and support, which will always be appreciated. Finally, you would not be holding this document in your hands if it weren't for the contributions of four very special people: my father David, for his unconditional love and support; David and Alex, who make me wonder what life was like before; and, of course, Jocelyn, who makes me smile, and to whom this book is dedicated.

iii Table of Contents

1\c:lcno~l~ci~m~nts...... ii

Ust of Tabl~s, Figures and ExaJDples...... v

Introcluc:tion: Sc:op~, Purpe>se and Method...... 1 Chapter 1: Current State of Researc:b ...... 13 Chapter 2: Oaxac:a...... 23 Chapter 3: The Oaxac:a Cathedral ...... 38 Chapter 4: Nativ~ Id~ntity in Colonial Se>ci~ty...... 75

Chapter 5: Spanish ld~ntity in Ce>lonial Se>ci~ty...... 138 Chapter 6: N~~ Spain's Separate Path...... 172 Chapter 7: Th~ Ex4men de OposiciOn anci th~ Qu~t fe>r a Modem Styl~ ...... 214

Chapter 8: S~ularization: Sumaya Brings N~~ Spain inro the Baroque...... 263 Chapter 9: Th~ Oaxac:a Music:al Style...... 290 Chapter 10: Conc:lusions...... 315 Bibliography...... 318 J\ppendix 1: Transc:riptions of Sel~ct~d Works...... 333

Sumaya: LaJD~ntac:i6n de Jer~mias...... 334 Martinez de Ia Costa: Credidi a 6...... 399 Herrera y Mota: Ofic:io de Nuestro Seiior San Pedro...... 420 Herrera y Mota: Hymno d~ Nuestro S~iior San Pedro...... 427 Sal~ado: Villanc:ico Sola Maria...... 431 Guzman: Conc:ierto a 4 para Oposic:i6n...... 440 Carrasc:o: Introit a la Misa d~ Nuestra Seiiora...... 444 Carrasc:o: Benedictus a la Misa de Nuestra S~iiora...... 452

J\ppendix 2: J\ddendum to Aurelio Tello's Catalo~e of~ Oaxac:a Catbednll...... 455

J\ppendix 3: Documents and Correspondence from th~ Oaxac:a Cathedral ...... 462 J\ppendix 4: Illustrations...... 475 J\ppendix 5: Published Works from the Oaxac:a Cathedral...... •...... 487

. IV List of Tables and Figures

Fig. 1: Pre-Hispanic Mexico...... 24

Fig. 2: Oaxaca Cathedral~ Interior...... 41

Fig. 3: Announcement for the Exdmen de Oposici6n of 1718...... 248 Fig. 4: The God of Death Micdantecuhdi...... 476 Fig. 5: Iglesia de San Francisco Javier, Tepozotlan...... 477

Fig. 6: Mayan "Iglesia" Temple~ Chichen Itza, Yucatan...... 478 Fig. 7: Zacatecas Cathedral...... 479 Fig. 8: Oaxaca Cathedral...... 480 Fig. 9: Mexico City Cathedral, Altar, Chapel of the Kings...... 481

Fig. 10: Altar of the Santuario de Nuestra Seii~ Ocodan~ Tiaxcala...... 482 Fig. 11: San Francisco de Acatepec, Puebla...... •...... 483 Fig. 12: Nuttall Codex...... 484 Fig. 13: Church of Santa Maria Tonazinda, Puebla...... 485

Fig. 14: Choral Book Illustration~ Puebla Cathedral...... 486

Table I: Comparison of Native and European Music...... Ill Table II: Chapelmasters of the Oaxaca Cathedral...... 215