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Tuning, Temperament and Pedagogy for the Vihuela in Juan Bermudo’S “Declaracion De Instrumentas Musicales” (1555)

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Tuning, Temperament and Pedagogy for the Vihuela in Juan Bermudo’S “Declaracion De Instrumentas Musicales” (1555) INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. 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UMI University Microfilms International A Bell & Howell Information Company 300 Nortfi Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9001916 Tuning, temperament and pedagogy for the vihuela in Juan Bermudo’s “Declaracion de Instrumentas Musicales” (1555) Annoni, xvlaria Theresa, Ph.D. The Ohio State University, 1989 Copyright ©1989 by Annoui, Maria Tberese. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 TUNING, TEMPERAMENT AND PEDAGOGY FOR THE VIHUELA IN JUAN BERMUDO'S DECLARACION DE INSTRUMENTOS MUSICALES (1555) DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Maria Therese Annoni, B.A., M.A. ***** The Ohio State University 1989 Dissertation Committee: Approved by Dr. David M. Butler Dr. Burdette L. Green Adviser Dr. Thomas F. Heck School of Music Copyright by Maria Therese Annoni 1989 To My Parents, Florence Schober Annoni and Anthony Michael Annoni 11 ACKNOWLEDGMENTS Second only to the satisfaction of completing my studies at Ohio State is the pleasure I take in recognizing the many contributions to my education and life in Columbus Ohio that have been made by so many people. In receiving my PhD, I am completing the education that both of my parents always wanted and deserved. Despite the distance from Minnesota, my family has been an ever-present source of support and love. I thank them and I dedicate this work to my parents. At Ohio State, Dr. Burdette Green has proved himself to be a skillful and able dissertation adviser. He has shared my fascination with Juan Burmudo, and has worked closely with me to uncover the contributions of this 16th-century genius. Dr. David Butler has played many roles during my academic career. In addition to serving as my academic adviser, he served on my Master's and General's committees, and now has provided much needed advice as a member of my dissertation committee. Words fail me as I try to express my gratitude to Dr. Thomas Heck and his family. Tom Heck has been a trusted advisor, a colleague and mentor, and a treasured friend for many years. It is no exaggeration to say that I could not have completed this disseration—at this time—without his help. When I was in need of shelter, the Hecks opened their home and hearts to me, and 111 became my Columbus family. Tom, Ann, John, and Lara: I love you, and thank you from the bottom of my heart. My work as a liturgical musician at the St. Thomas More Newman Center has been important to the preservation of my sanity during this process. I thank the wonderful worhip community and in particular Pete McClemon for their sense of humor and unflagging faith in me. Eric Celeste, friend and President of Appropriate Technology, provided much needed computer support, including the debugging of my graphics, and the laser printing of my final draft. His efforts are all the more appreciated in view of the fact that I needed him most just at the time he broke his hip; and he still came through! Dr. Kathleen Nuccio has provided round-the-clock mental, physical and emotional support. She provided warm meals and hugs, manuscript proofreading, and faith in both me and Juan Bermudo. She has improved the quality of both my life and this dissertation. IV VITA June 10,1954 Born - Duluth, Minnesota 1972-Present ......................................... Guitar Instructor - Private and Classroom 1976 ....................................................... B.A., College of Saint Scholastica, Duluth, Minnesota 1976-1978 ....................................... Choral Director and Music Instructor, Duluth Cathedral High School, Duluth, Minnesota 1980-Presen t ......................................... Assistant to the Music Director, Saint Thomas More Newman Center, Campus Ministry, The Ohio State University, Columbus, Ohio 1981-1986 ............................................. Graduate Teaching Associate, Division of Music Theory, School of Music, The Ohio State University, Columbus, Ohio 1982 ...................................................... M.A., The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music Theory Minor Fields: Studies in Music History: Medieval, Renaissance, Classical, and N otation Studies in Foreign Languages: Spanish, Italian, French, Latin, German, Russian, and Ancient Greek TABLE OF CONTENTS ACKNOWLEDGMENTS ................................................................................ iii VITA ................................................................................................................. V LIST OF TABLES ............................................................................................ ix LIST OF FIGURES .......................................................................................... x CHAPTER PAGE I. INTRODUCTION AND LITERATURE RE\TEW ............... 1 Sources ........................................................................................ 2 Secondary Literature ................................................................. 3 Methodology and Organization ............................................... 12 n. JUAN BERMUDO: TEXT AND CONTEXT .......................... 15 The Political Situation in Renaissance Spain ........................ 15 Spain's Cultural History ........................................................... 18 Juan Bermudo and the Friars Minor of the Observance .... 24 Bermudo's Early Publications ................................. 27 Declaraciôn de Instrumentos Musicales ....................................... 33 Interrelatedness of Bermudo's Publications ......................... 36 Conclusions ................................................................................. 43 m . THEDECLARACION : ITS PURPOSE, LAYOUT AND PEDAGOGICAL INTENT ......................................................... 44 The Purpose of the Treatise: Some Retrospective Views .................................................................................. 44 The Purpose of the Treatise According to Bermudo and Figueroa ........... 46 The Layout of the Treatise ....................................................... 49 Bermudo's Unpublished Books ............................................... 59 References to the Sixth Book .................................................... 60 References to the Seventh Book .............................................. 63 The Interconnection of the Books ............................................ 64 VI Bermudo's Pedagogical Method ............................................. 68 Bermudo's Instruction for the Musical Instruments .......... 68 Elementary Vihuela Instruction ............................................ 68 Intermediate Vihuela Instruction ............................................ 70 Advanced Vihuela Instruction ................................................. 72 Conclusions ................................................................................. 76 IV. BERMUDO'S VIHUELAS: DESCRIPTION AND DOCUMENTATION OF THE INSTRUMENTS AND THEIR TUNINGS ...................................................................... 77 Vihuela: the Term and its Usage ............................................. 77 Brief History of the Instruments ............................................ 80 The Six-Course Vihuela ........................................................... 83 Additional Templates for the Six-Course Vihuela ............. 89 The Seven-Course Vihuela ..................................................... 98 Additional Templates for the Seven-Course Vihuela ....... 104 The Four-Course Guitar ........................................................... 105 Additional Templates for the Four-Course Guitar ............. I ll The Five-Course Guitar ............................................................. 112 The Bandurria ........................................................................... 116 The Rabel ...................................................................................
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