MUSICAL SCENES in the MINOR, SECULAR, and RELIGIOUS WORKS of AGUSTÍN MORETO Y CABAÑA (1618-1669) DISSERTATION Presented in P
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MUSICAL SCENES IN THE MINOR, SECULAR, AND RELIGIOUS WORKS OF AGUSTÍN MORETO Y CABAÑA (1618-1669) DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Graduate School of The Ohio State University By George Yuri Porras, M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Professor Donald R. Larson, Adviser Professor Stephen Summerhill _________________________ Adviser Professor Salvador García-Castañeda Graduate Program in Spanish and Portuguese Copyright by George Yuri Porras 2005 ABSTRACT Scholars have long known the fact that Spanish Golden Age theatrical works are filled with musical references that contribute to the overall success of the plays. As a special effect, music was at the center of performances, both in the corrales and at court. Unfortunately, a large portion of music to which the theatrical texts allude has been lost due in part to poor record keeping and fires. Of the music that survives, a major part relates to works of Lope de Vega (1564-1635) and, especially, Calderón (1600-1681), both of whom have been the focus of significant research regarding the subject. Lope de Vega and Calderón, however, are not the only playwrights whose works contain music references. Because of scholars such as José Subirá and Louise K. Stein, who have brought eighteenth-century music manuscripts to light, music references that appear in the works of other playwrights can be studied as well. I propose, therefore, to analyze the contribution and significance of music in a selected number minor, secular, and religious plays by the preeminent dramatist Agustín Moreto (1618- 1669). The objective of my analysis is twofold. On the one hand, I analyze the way in which music fulfilled several practical, technical, and structural functions. On the other, I study, from semiotic and performance theories, ways in which music reflects and ii affirms, or, in a few cases, inverts and subverts a number of the ideals of Spanish seventeenth-century society. The kinds of instruments used, the various songs and dances performed, all contributed to the formation of musical scenes which create significant semiotic relationships that reveal the performance of social codes, comprising such matters as honor, religion, hierarchy, love, and class. In short, this research proposes to contextualize the extant music and song-texts in terms of their semiotic (musical, theatrical, and social) relationship with Moreto’s theater and its reception. ii Dedicated to my mother and father iv ACKNOWLEDGMENTS My heaviest debt is to my adviser, Dr. Donald R. Larson, for intellectual support, encouragement, and enthusiasm which made this dissertation possible, and for his unwavering patience in correcting both stylistic and content errors. He is nothing short of a model adviser. I am grateful to Dr. Graeme Boone of the School of Music for discussing with me various ways in which I could approach the study of music in the theater. I also wish to thank Tim Wiseman for contributing to stylistic revisions. I thank Mr. Andrés Peláez, the director of the National Museum of Theater of Spain in Almagro, for providing access to the “Novena” music manuscript. I also wish to thank my brothers, Freddy and Juan Carlos, as well as Nieves Pujalte, for their continued encouragement and moral support during my years at OSU. Finally, I am eternally indebted to the faculty and staff of the Department of Spanish and Portuguese for providing me with the necessary support in order to achieve my objectives. This research was supported by an Ohio State University Office of International Affairs Graduate Student International Dissertation Research Grant, and two Tinker Foundation Field Research Grants, without which this project would not have been possible. v VITA May 24, 1971…………………………Born-Bogotá, Colombia 1996…………………………………..B.A. Music and Spanish, Sonoma State University. 1997-1999…………………………….M.A. Hispanic Peninsular Literatures and Cultures The Ohio State University 1999-present…………………………...Graduate Teaching Associate and Lecturer, The Ohio State University FIELDS OF STUDY Major Field: Spanish and Portuguese vi TABLE OF CONTENTS Page Dedication……………………………………………………………………………….. iv Acknowledgments…………………………………………………………………………v Vita………………………………………………………………………………………..vi Introduction……………………………………………………………………….……….1 Chapters: 1. Agustín Moreto y Cabaña and the Theater of 17th Century Spain………….….……..7 1.1 Classification of Moreto’s Theater..……………………………………….….11 1.2 Moreto’s Minor Theater………………………………………………………12 1.2.1 The Loa…....……………………………………………………………13 1.2.2 The Jácara………………………………………………………………14 1.2.3 The Baile…..……………………………………………………………15 1.2.4 The Entremés..……………….…………………………………………17 1.3 Moreto’s Secular and Religious Theater……………………………………….19 1.4 Moreto’s DramaticTechnique and Structure: Plot……...………………………20 1.4.1 Vocabulary and Dialogue ..……………………………………………21 1.4.2 Setting and Time………………………………………….……………22 1.4.3 Characterization……..…………………………………………………23 2. A Historical context of Music and Dance in Moreto’s Theater……………………..27 2.1 Western European Music in the 16th and 17th Centuries…...…………………29 2.2 Vocal Music……………………………………………..……………………32 2.3 General Characteristics of 17th Century Polyphony………………………….33 2.4 Melody………………………………………………………..………………35 2.5 Harmony………………………………………………………..…………….37 2.6 Religious Vocal Music…………………………………………….…….……38 2.6.1 Hymns…………………………………………………….…………….39 2.6.2 Masses…………………………………………………….…………….40 2.6.3 Villancicos…………………………………………………...…………40 2.7 Secular Vocal Music……………………………………………….…………42 2.7.1 Secular Music in the First Half of the 17th Century…………….………42 vii 2.7.2 The New Song in the Second Half of the 17th Century…………….……44 2.8 Music in Moreto’s Theater…………………………………..…………….…45 2.9 Instruments for Accompaniment of Vocal Music……………….……..….…48 2.9.1 Instrumentation in Moreto’s Theater…………………….………………50 2.10 Dances…………………………………………………………….…………52 2.10.1 Pavana………………...…………………………………………………56 2.10.2 Gallarda……………….…………………………………………………57 2.10.3 Jácara………………….…………………………………………………57 2.10.4 Folía……………………..………………………………………………58 2.10.5 Zarabanda………………..………………………………………………59 2.10.6 Dances and Spectacles in Moreto’s Theate…………………..…………60 2.11 Sources of the Extant Music in Moreto’s Plays……………………….……..63 2.11.1 Tono de Música Vocal Antigua…………………………………………66 2.11.2 The “Novena” Manuscript………………………………………………66 2.12 Conclusion………………………………………………..……….…………67 3. Musical Scenes in Moreto’s Plays…………………………………………………..74 3.1 Musical Scenes in Moreto’s Minor Plays..……………………………………74 3.1.1 Loa de las fiestas del Corpus de Valencia……………………………….75 3.1.2 Baile de Don Rodrigo y la Caba…………………………………………77 3.1.3 Baile entremesado de los oficios…………………………………………78 3.1.4 Entremés del Mellado……………………………………………………80 3.1.5 Entremés del vestuario…………………………………………………...82 3.1.6 Entremés de la campanilla……………………………………………….85 3.1.7 Entremés de la loa de Juan Rana…………………………………………87 3.1.8 Entremés de de las galeras dela honra…………………………………...88 3.1.9 Entremés de la noche de San Juan……………………………………….89 3.2 Musical Scenes in Moreto’s Secular Plays……………………………………..91 3.2.1 El Eneas de Dios…………………………………………………………92 3.2.1.1 El Eneas de Dios (Manuscript Version)…….……………………96 3.2.2 Los jueces de Castilla…………………………………………………...101 3.2.3 El poder de la amistad…………………………………………………..105 3.2.4 El desdénd con el desdén……………………………………………….110 3.2.5 La fuerza del natural……………………………………………………118 3.2.6 Yo por vos y vos por otro………………………………………………121 3.3 Musical Scenes in Moreto’s Religious Plays………………………………….129 3.3.1 La vida de San Alejo……………………………………………………129 3.3.2 La adúltera penitente……………………………………………………143 3.3.3 Caer para levantar………………………………………………………151 3.3.4 Santa Rosa del Perú…………………………………………………….159 3.3.5 San Franco de Sena……………………………………………………..176 3.3.6 El bruto de Babilonia…………………………………………………...181 4. Analysis of Moreto’s Musical Scenes……………………………………………...195 4.1 Some Practical Applications of Music in Moreto’s Theater………….……….200 4.1.1 Musical Scenes Used to Hide Noises, Distract, or Confuse……………201 ix 4.1.2 Music to Aid Transitions Between Acts and Scenes………………….. 204 4.1.3 Instruments that Signify Battles, Entrances, and Deaths……………….207 4.1.4 Musical Scenes that Emphasize Contrasts…………………………….. 211 4.2 Dramatic Structural and Technical Functions of Moreto’s Musical Scenes…. 216 4.2.1 Music in Support of the Comic Effect………………………………….216 4.2.2 Music that Seduces or Tempts Characters…………………………….. 217 4.2.3 Songs that Foreshadow Events……………………………………….. 220 4.2.4 Musical Scenes that Create Suspense or Mystery……………………... 223 4.2.5 Musical Scenes that Support Development of Plot and Action……….. 224 4.2.6 Music in Support of Character Development and Expression………… 229 4.2.6.1 Musical Scenes that Reflect the Physical Effect of Personages.....229 4.2.6.2 Music Utilized to Reflect or Move the Affections of Personages..232 4.2.6.3 Music in Support of Character Development…………………….242 4.2.7 Musical Scenes that Represent the Supernatural or Magical…………...245 4.2.8 Musical Scenes in Support of Gender Role Inversion………………….254 4.2.9 Musical Scenes that Support Dramatic Irony, Satire, or Parody……….255 4.2.10 Music Used to Emphasize Spatial Atmosphere or to Signify a Particular Occasion…………………………………...………………..260 4.2.11 Musical Scenes that Emphasize the Sounds, Visuals of Nature…….....269 4.2.12 Musical Scenes that Reflect Some Characteristics of the Period’s Theater………………………………………………….269 4.3 Musical Scenes that Reveal Seventeenth Century Codes, Signs, and Rites..….272