143A a Rirar C·Onvido El Amor (Juan

Total Page:16

File Type:pdf, Size:1020Kb

143A a Rirar C·Onvido El Amor (Juan Index A lo guerra del cielo (Cristóbal Ga­ Amar sin conocer (Barbieri), 140b Balakirev, M. A., l 17b, l 19a, 120a, lán), 143a Anchicta, Juan de (1462- 1523), 6a, 121b, 122b, 123a, 124b, 125b, A rirar c·onvido el amor (Juan 8a, 9b, 13ab, 16b, 150b- 151a 126a, l 32ab Durango), l 43a Anes, Rodrigo, Oporto chantre Baldino, Justo, bishop of Ceuta, 5b Abraham. Gcrald, mistakes made (1329), 4b Barahona Vega, Clemente, l !Ob by, 117b, 125b Anglés, Higinio, 3b, 13ab Barbacci, Rodolfo, 88b, 92b, 93b, Academia Granados (Barcelona), Annapolis, Rimski-Korsakov at, 94b, !Olb 143b 127ab Barbieri, Francisco Asen jo, 6a, 9b, Accademia Filarmonica (Bologna), Annes, Joao, Oporto canon (1491), IOa, 139a- 141b, 151b Martines elected to, 27b 5b Barbosa, Ayres, classicist, 1la , Affonso (1509- 1540), cardinal, !Ob, Arabia, Pedro de, 46a 139b ! la Aracena Infanta, Aníbal, 90b Barbosa Machado, Diogo, 9b, IOa, Affonso V (1438- 1481), monarch, Aragonese royal chapel (Naples), 139b 5b, 8b members of, 148b--150a Barcelona, city trumpeter at (15th Agricola, Alcxander, 15la Aranda, Matheo de, 9a century), l 46a Águilar, Mariana (mother of Manuel Argote, Joaquín J., 87a Barnum, P. T., 120b, 121b del Pópulo García), 45b-46a Arredondo, Elvira, 92b Barreiros, Martim Vicente, 5a Aguirre y Loizaga, Josef de (father Arrieta Cañas, Luis, 89a Barriga, Juan Agustín, 90ab, 99b of José Morales), 47b-48a Arricta, Emilio, 140a Barriga, Pilar, 98b Alard, Dclphine, 89a, 91a Arteaga y Pereira, G., l 13a Barros, Joao de, 9b Alba, Antonio (fT 1896), 96a Artót, Alexandre, 92a Banholf Scnff, publisher, 108b Albéniz: Isaac, 113a- 1 l 5b; Laura, Arturo Napoleao & Miguéz, pub­ Barwick, Steven, 137a 113a lishers, 102a Bastos, Teresina, 104b Albero, Sebastián, 146a Asedio de Medina, 51h Beethoven, 93ab, 94b, IOlb Alexander VI, pope, 6b Asenjo Barbieri, Francisco, see Bar- Bcll, Aubrey F. G., 8b Alexandria, Virginia, Rimski- bieri, Francisco Asenjo Bcncdict XII, antipope, ( = Pedro Korsakov at, 127a, 132a Associa~ao Música 24 de Junho, l 39b de Luna, dcposcd 1417), 149b Alfonso V, el Magnánimo (1394- Astorga, Marqués de, 50b-5 I b Bériot, Charles de, 89a, 91 a 1460), 3b, l 49ab Atlas, Allan W., 145ab Bernard· Valvillc, Fran~ois, 58 Alfonso XII, 1 l 3a Auber, 99a Biblioteca de Catalunya, 142a Allarde, Marie-Frarn;ois, 58 Auenbrugger, Marianna von, 25a Bibliotheca Lusifana, 9b, !Oa, 139b Allende Sarón, Pedro Humberto, Aur(e)nhammer, Josefa Barbara Billet, Alexandre, piano teachcr, l!Ob von (1758-1820), 25a 107a Almarcha, Juan, 46b A ves, flores, luces (Bello de Torices), Binimelis, Domingo [and familyJ, Almeida, José Gaspar de, 4b, 9a l4Ja 98b, 99a Alpedrinha, see Costa, Jorge da Avilés, Manuel Leitao de, 4a Blanca 1, quecn of Navarre (1386- Alva, Alonso de, 8b, IOb, 13a Ay, ojos, suspended (Mateo 1441), 149b Aharenga, Joao Pedro d', 7ab Romero), 143a Blasco, José, 58 Álvarcz, José, 51 b, 52a Azevedo, Joao de, Oporto bishor Bloomington, Indiana, 12a Álvarez, Rodrigo, Oporto printer (1465- 1495). 5ab, 9a Bocabadatti, see Rocabadatti, ( 1497), 6b Bagolini, José, 98b Eugenia 153 154 INTER-AMERtCAN MUStC REVIE\\ Bogdanov-Berezovski, V., 130b Cantata o la Providencio (Taglia­ Corbin, Solange, 4b-5a, 7a Bóhm, Gümher, 87a ferro), 99ab Cornago, Johannes, 145b, bolero (El Poeta calculista), 55b Cantem señors (Escobar contrafac- 149b-150b Boltz, Osear, pianist, 89ab tum), 12b Correa de Arauxo, Francisco, IOa Bonno, Giuseppe (1710-1788), 25b, Caracas, Venezuela, White at, 89a Correa do Campo, Manuel, 4a, IOa 38b Cardoso, Ferniio, 1J ab Correa, Manuel, Calced Carmelite, Borg, Paul, 12ab Carlos F. Niemeycr, Chilean pub- 4a, IOa Borromeo, Y italiano ( 1720- 1797), lishers, 97ab Costa, Jorge da, cardinal, 7a 25b, 26a Carlos 11 (Spain), 142b Cotarelo y Mori, Emilio, 45a, 53b Borrowdale, Robert J., 137a Carlos 111 (Spain), 51 a Cotes, Ambrosio, JOb Boyarynya Vera Sheloga, 124b Carlos IV (Spain), 46a, 50b Covell, Lcmucl, 134a Braga: Our Lady responsories sung Carnaval de Venecia, 89b, 92a Crane, James C., l 34b at, 5a; manuscript antiphoners at, Carneiro, Álvaro, 7b Cree(, Bryant L., 4a 7a; published brcviaries for, 7a Carnicer, Ramón, 93a, 94a Cruz, Filipe da, 4a Braga, Henrique (1845-1917), 107a Carpentier, Alejo, 1JOb Cuenca Cathedral, defective Branco, Joiio de Freitas, 8b Carreras Granados, Antonio cataloguing of music at, 142a Brant, Joseph, Mohawk lndian, 133b (grandson of the composer), 143b Cunha, Rodrigo da, 4b,.5ab, 7b Brassin, Louis, 1 l3b, l l 4ab Casares Rodieio, Emilio, 6a, 9b, Cusick, James N., Tuscarora Baptist Briiutigan, Dr., l 14a 141a minister, l 33a Bravo, Manuel, librettist, 58 Cascarreto, Johannes de (j11439), Dargomyzhski, l 27a Bretón, Tomás, l 13a 149b De beata Virgine, coopcratively Brindis de Salas, Claudio, 89a Castil-Blaze, F. H., 57a written Masses, 8a Briones, Joaquina, 46b, 52b Castillo, Diego del, 55b De Getofe al Paraíso, 140b Brito, Esteviio de, 4a Ceballos, Rodrigo de, 12b, 145b Depetris, Fabio, 95b Brito, Manuel Carlos de, 8b, 137ab Ccllctti, Rodolfo, 45a Deru, Edouard (1875- 1928), Brown, A. Petcr, 38a Cerrone, Joiio, ccllist, 106b violinist, 107b Brudieu, l 37a Cervantes, Esmeralda, harpist, 107a Desprez, Josquin, 16a, ISia Brussels Conservatory, l 13b, l 14ab Cervet, Antonius (j11418), 149a Didone abbandonato, 25b Budapcst, Albéniz at, l 14a Ceuta, bishop of ( 1487), 5b Dixit Dominus (Martines), 27a Burchard, Johann, 6b, 7a Chaconne (Bach), IOlb, 102a Dmitriev, A. N., 124b Burney, Charles, 26a, 27b, 28b, 37a Charles V 1 (Austria), 25ab, 38ab Domenech, Francisco, SOab Buschmann, Guimariics & lrmao, Chillán, Chile, 88a, 89a, 98b, 99a Don Cario (Vcrdi), 89b publishers, 103b Choudens Pcrc & Fils, publishcrs, Don Giovonni, l 19a Cabello, Melchor ( = Fray Melchor 94b Duarte, Dom (1391-1438), 3a, 149a de Montemayor), 139b Ciatica, Isidro, 48a, 48b Ducci, José, 90b, 92a, 93a Cádiz: 46b-48b, 50b; cathedral, Cimarosa, Domenico, 57a Dufay ( = Du Fay), Guillaume, 150ab l 37b, l 42b; San Lorenzo llamabat autem mulier, 9ab, 12b, Dulcísimo dueño (Sebastián Durón). (Church of), 46b 13a, 16a, 17-21 (music) 143a Caldara, Antonio, 25b, 38b Claro-Valdés, Samuel, 94a Dumois, José Mitchell, 106a Calixt us 11, pope, 4b CI u b Beet hovcn, R io de Ja neiro, Ouncan, John Morrison, traveller Calixt us 111, pope, l 50ab 104a among Tuscaroras, 134b Callcnder, Amos, Buffalo musie Cocq, Amelia, 107b Durango, Juan, Fray, 142ab, 143a enthusiast, 134b- 135a Coi:llo, Claudio, painter, 142b Durante, Francesco, 25b, 38b Calzabigi, Ranieri, 26a Coimbra: wedJing at (1428), 3b; Durfeld, Theresc von ( 1769-1795), Campana, Fabio, 98b Escobar manuscript source at, 9a 28a Canción de Yungay, 94b Collet , Henri, l 13b, 114a, 141a E. Niemeyer & lnghirami, Chilcan Canción patriótica (Federico Guz­ Comes, Juan Buaiista, 141b, 143a publishers, 96a mán), 93ab, 94ab Compere, Loysct, 12b Egydio do Porto, frei, Oporto Concioneiro musical e poético da Concepción, Chile, 88a, 89ab, coadjutor bishop (1475), 5b Biblioteca Públia Hortensia 98ab, 99a Elche, mystery of, 12b [Elvas), 8b, 9a, 12a, 22b Consueta (1709), Elche music El Galeote honrado, 54a-55a, 55b Cancionero Musical de Po/ocio, source, 12b El Marqués de Caravoca, 140b 9ab, 12b, 16b, 22ab Copiapó, Chile, 88a, IOOb Elústiza, J. B. de, 8b, IOb, 13a Canga-Argüelles García-Morales, Coquimbo, Chile, 88a, IOOb Elvas. 8b, 9a, 12a, 149a (singer Paula, 53a Coro(:on triste (Escobar), 13b, 22a from, 1418) lndex 155 En la cárcel de Belén (Matías Frías, Josefina, 93b Griesingcr, G. A., 25b, 37a Ruiz), 143a Friedenthal, Albert, 96ab, 108a Griselda (Paer), 53b Encina, Juan del, Sb, 9a, IOb, 16b, Frolia, Martim, Oporto chantre, 4b Groot, Adolphe, composition 22a Fuenllana, Miguel de, 146b teachcr, l07a Enciso Castrillón, Félix, 58 Galli, Raffaele, 9la, 92b Guadalupe Monastery (Cáceres), Epometria, seu de metiendi carmina Galuppi, Baldassare, 25b, 38b l39b ratione (Ayres =Arias Barbosa, Gándara, Francisco, 144a Guareces, Caterina and Isabel, 1515) 139b García de la Cuesta, Gregorio, 49a pensions received by, 1la Erkel, Fcrenc, l 14b García Fraile, Dámaso, 142a Guarda, bishop of, 11 a Ernani, 94a García Gutiérrez, Antonio, 140b Guardias Walonas (Madrid), 52a Ernst, H. W., 90a, IOlb García, Manuel del Pópulo Vicente, Guerra, Edgardo, White pupil, Escobar, Pedro de, 3-23, ISia 45-85; works by, El preso, 50b; 104b Escorial, El: music archive at, 14lb- El criado fingido, 54a; El poeta Guerra y Alarcón, Antonio, l 13a, 143b, IS lb; villancico composers, calculista, 54a-56a; works com­ l 14a Laird's catalogue of, 142a: Es­ posed by, prior to departure Guerrero, Francisco, IOb, l 6a, corial B, manuscript, l46a from Spain in 1807, 58 140a Eslava, Hilarión, 52a García, Manuel Patricio (son of Guil/aume Tell (Rossini), ovenure, Espín y Guillén, Joaquín, Slb Manuel del Pópulo Vicente), 93a Esterházy, Nikolaus (1). 25b, 38b 45a, 52b Guion, Caroline, 109b Étienne, Charles, 58 Garrido, Pablo, 96b Gungl, Joscph, 93a Eugenius IV, pope, 149ab Gauthier, André, l 13b Gunther, Roben, 87a Évora, court at, 6b, 9ab, l lab Gaztambide, Joaquín, 140a Gutiérrez de Padilla, Juan de (d Extremadura, Hernando Franco Gerber, Rudolf, I2b 1664), 137b born in, 137b Gerbert, Martin, 26a, 28a Guzmán, Áurelia Oliva de, 91a Farinelli (Cario Broschi, 1705- Gesualdo, Vicente, 98b, lOlb Guzmán, Eustaquio Segundo: 90b, 1782), 27b-28a Gevaert, F. A., l 13b 92ab, 93b, 94b, 96a, 'J7a, !Ola, Fauges, Guillaume, 150a Ghersem, Géry de, 142a 103a; Federico, 93ab, 94ab, Faust: l 19a; fantasy for two violins; Gil, Rafael, 46b-48b 106b- 107a; Fernando, 93b 92b; march from, 93ab Gilbert of England, bishop, l la Haberkamp, Gertraut, 13b, 22b Felíu y Codina, José, 144a Girardin, Émile de, 88b Haebler, Conrad, 6b Fenández de Madrid, Juan, 15la Glazunov, A., 123a Haffner, Johann Ulrich, 26a Fenelón, Eugenio, 91 b Glinka, M. l., 125ab, 127a, 130b Handel, G. F., 25b, 38b Fernandes, Álvaro <fl 1434), 3a Gloria y Peluca (Barbieri), 14la Hasse, J. A., 25b, 26b, 38b Fernandes, Gaspar (d 1629), 4a Gi>hler, Bernardo, 94ab Hauser, Mis~a. 87a Fernández Arbós, Enrique, l l 4b Gombert, Nicholas, 16a Haydn, F.
Recommended publications
  • Download References File
    TECNOLOGÍA NAVARRA DE NANOPRODUCTOS S.L. (TECNAN) THINK BIG, ACT NANO! REFERENCES RESTORATION AND CONSERVATION OF HERITAGE BUILDINGS TECNADIS PRODUCTS - REMARKABLE WORKS Metropolitan Cathedral Seville Cathedral Oviedo Cathedral (Panama City) (Sevilla - Spain) (Asturias - Spain) Mosque-Cathedral of Cordoba La Almudena Cathedral Tui Cathedral Santander Cathedral (Córdoba - Spain) (Madrid - Spain) (Pontevedra - Spain) (Cantabria - Spain) Tarazona Cathedral Burgo de Osma Cathedral Pamplona Cathedral Segovia Cathedral (Zaragoza - Spain) (Soria - Spain) (Navarra - Spain) (Segovia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Cologne Cathedral Pisa Cathedral Saint Bavon Cathedral Saint Esteban Cathedral (Italy) (Germany) (Ghent - Belgium) (Wien - Austria) (Bélgica) São João National Theatre Santo Domingo de la Calzada Cathedral Casa Milá – La Pedrera Viana Do Castelo Cathedral (Porto-Portugal) (La Rioja - Spain) (Barcelona - Spain) (Portugal) Buen Pastor Cathedral The Real Alcazar Casa Batlló Valencia Cathedral Museum (San Sebastián - Spain) (Sevilla - Spain) (Barcelona - Spain) (Valencia - Spain) TECNADIS PRODUCTS - REMARKABLE WORKS Bank of Spain Headquarters Santander Bank Headquarters National Library Parador of Leon (Madrid-Spain) (Santander - Spain) (Madrid - Spain) (León - Spain) ) Bank of Spain Building Spain Square Canalejas Complex Prado Museum (Málaga - Spain) (Sevilla - Spain) (Madrid - Spain) (Madrid - Spain) Royal Pavilion - Mª Luisa Park The old Seville Artillery Factory Astorga Episcopal Palace Catalunya Caixa Bank Headquarters
    [Show full text]
  • Heritage of Religion, Beliefs and Spirituality Patrimoine De La Religion, Des Croyances Et De La Spiritualité
    Heritage of religion, beliefs and spirituality Patrimoine de la religion, des croyances et de la spiritualité A bibliography Une bibliographie By ICOMOS Documenta on Centre - October 2014 Par le Centre de Documenta on ICOMOS - Octobre 2014 Updated and edited by Valéria De Almeida Gomes, intern at ICOMOS Documentation Centre, and Lucile Smirnov. This bibliography refers to documents and materials available at ICOMOS Documentation Centre. It does not intend to be a comprehensive list of scientific literature on religions cultural heritage. Any reference can be consulted or scanned, subject to the limits of copyright legislation. Actualisé et mis en page par Valéria De Almeida Gomes et Lucile Smirnov. Cette bibliographie fait référence à des documents et ouvrages disponibles au Centre de documentation de l’ICOMOS. Elle ne prétend pas constituer une bibliographie exhaustive de la littérature scientifique sur e patrimoine culturel des religions. Toutes ces références peuvent être consultées ou scannées dans la limite de la loi sur le copyright. Contact ICOMOS Documentation Centre / Centre de Documentation ICOMOS http://www.icomos.org/en/documentation-center [email protected] © ICOMOS Documentation Centre, October 2014. ICOMOS - International Council on Monuments and sites Conseil International des Monuments et des Sites 11 rue du Séminaire de Conflans 94 220 Charenton-le-Pont France Tel. + 33 (0) 1 41 94 17 59 http://www.icomos.org Cover photographs: Photos de couverture : Hagia Sophia, Istanbul © David Spencer / Flickr; Borobudur near Yogyakarta. ©: Paul Arps/Flickr; Old Jewish Cemetery (Starý židovský hrbitov), Prague (Prag/Praha) © Ulf Liljankoski / Flickr Index Polytheism and early cults ......................................................... 2 African syncretism and traditional religions .................................
    [Show full text]
  • Sketches Awheel in Modern Iberia
    PUERTA DEL CASTILLO, CUENCA. SKETCHES AWHEEL IN MODERN IBERIA BY 'FANNY BULLOCK WORKMAN ' WILLIAM HUNTER WORKMAN Authors of " Algerian Memories " ^\'^ G. P. PUTNAM'S SONS NEW YORK LONDON 37 WEST TWENTY-THIRD STREET 24 BEDFORD STREET, STRAND St^e Knickerbocker ^ress •1897 Copyright, 1897 BY G. P. PUTNAM'S SONS Ube IRnfcfcerbocfiet pres9> mew ]QovI: In memory of the varied experiences of our many travels together, I affectionately dedicate my portion of this book to my husband, without whose skill in planning the long route, energy in following it out, and attention to details, our journey through the length and breadth of Spain would not have been possible. FANNY BULLOCK WORKMAN. To my wife, my companion on long journeys awheel in most of the countries of Europe, in Sicily and North Africa, and on tours afoot in the mountains of Norway, the Alps, Apennines, Pyrenees, and Atlas, whose courage, endurance, and enthusiasm, often under circumstances of hardship and sometimes of danger, have never failed, I affectionately dedicate my contribution to this volume. WILLIAM HUNTER WORKMAN. PREFACE. THE following pages are based upon ob- servations and experiences of the authors while on a tour through Spain in the spring and summer of 1895. The tour was made on bicycles, not to satisfy the spirit of adventure commonly ascribed to Americans, though something of adventure must be expected in a country like Spain, nor because there was any- thing novel to us in this mode of travel—the novelty had long since worn off—but as being the means of conveyance best adapted to our purpose, enabling us in entire independence of the usual hindrances of the traveller to pass through the country at leisure, stopping where and when we pleased.
    [Show full text]
  • Studies on the Structure of Gothic Cathedrals
    Historical Constructions, P.B. Lourenço, P. Roca (Eds.), Guimarães, 2001 71 Studies on the structure of Gothic Cathedrals Pere Roca Universitat Politècnica de Catalunya, Department of Construction Engineering, Barcelona, Spain ABSTRACT: The study of three Gothic Cathedrals is presented with a discussion on the results obtained with regard to their structural features and present condition. The paper focuses on the significant difficulties that the analysts may encounter in the attempt of evaluating historical structures. These difficulties stem from the importance of historical facts (historical genesis, construction process, and possible natural or anthropic actions affecting the construction throughout its life time) and the need to integrate them in the analysis. The case studies of Tarazona, Barcelona and Mallorca Cathedrals are presented. Particular attention is given to Mallorca Cathedral because of the uniqueness and audacity of its structural design and because of the challenges that the analyst must face to conclude about its actual condition and long-tem stability. 1 CONSIDERATIONS ON THE ANALYSIS OF ANCIENT CONSTRUCTIONS One of the main elements of the European architectural heritage is found in the significant number of Gothic churches and cathedrals built during the last period of the Middle Age. Preserving these constructions requires a certain understanding of their structural features and stability condition; this, in turn, requires a certain knowledge of their material, construction and resisting nature. However, the attempt to understand a complex ancient construction, such as a Gothic cathedral, based on modern techniques and concepts, encounters important difficulties stemming from both practical and theoretical causes. Among the difficulties of practical character is the virtual impossibility of obtaining a detailed knowledge of the properties of the materials, construction details and internal composition.
    [Show full text]
  • A Landscape Architectural Design Approach: the Restoration of the Angel Tower and the Cloister of the Cathedral of Cuenca
    ISSN: 0214-8293 21 A landscape architectural design approach: The restoration of the Angel Tower and the Cloister of the Cathedral of Cuenca Joaquín Ibáñez Montoya | Maryan Álvarez-Builla Gómez Polytechnic University of Madrid Abstract This article aims to show the recent evolution of concepts such as Cultural Heritage, by offering a survey of the archi - tectural restoration project methodology of the Cuenca Cathedral. The Charters of Athens , from1931 and 1933, –the bases of modernity – converge today after almost a century of leading separate paths: land planning and cultural inter - pretation, space and time recuperate a meeting point, which should have never been lost. The article basically assesses the potential contemporary projects on heritage constructions can offer when studied as a landscape journey. In order to certify the transformations from the present context, the singular monument of Cuenca Cathedral is taken as a mo - del. Its stone materiality provides a memory of secular morphology and clear technical and social wealth. This model unfolds as a dialogue between Theory and Practice reflected on its conservation works. After thirty years of restoration experience on the building performed by the authors, the two last interventions are thoroughly commented in this ar - ticle revealing a new strategy in the architectural project performance. Keywords : architectural project, cultural heritage, landscape, cathedral, Cuenca. Resumen Este artículo trata de analizar la reciente evolución de los conceptos sobre intervención en el Patrimonio Cultural. Para ello utiliza como modelo el proyecto metodológico aplicado sobre las dos últimas actuaciones efectuadas en la Catedral de Cuenca. La Carta de Atenas , 1931, que estableció las bases de la modernidad sobre las dos trayectorias de espacio y tiempo, concuerdan hoy después de casi un siglo, recuperando su punto de encuentro.
    [Show full text]
  • Recorder Use in Spanish Churches and Cathedrals in the Sixteenth and Early Seventeenth Centuries
    Recebido em | Received 14/01/2018 Aceite em | Accepted 22/03/2019 nova série | new series 5/2 (2018), pp. 341-356 ISSN 2183-8410 http://rpm-ns.pt Recorder Use in Spanish Churches and Cathedrals in the Sixteenth and Early Seventeenth Centuries Julia Miller University of Antwerp Royal Conservatory of Antwerp [email protected] Resumo Os documentos do século XVI e início do século XVII que sobrevivem até hoje revelam informações muito dispersas no que concerne ao papel da flauta de bisel na prática de música sacra. Embora tivessem sido adquiridos vários conjuntos de flautas de bisel por instituições eclesiásticas ao longo desse período, coincidindo temporalmente com a representação na iconografia religiosa, grande parte das obras vocais sacras do século XVI não nos elucida sobre a utilização específica destes instrumentos. Dada a escassez de documentação com informação acerca do uso das flautas de bisel, várias questões persistem até à actualidade entre os músicos que procuram definir as suas escolhas informadas para a prática interpretativa. Este artigo apresenta alguns resultados da pesquisa sobre o papel assumido pelas flautas na prática musical sacra em catedrais e igrejas em Espanha, durante os séculos XVI e XVII. Através da síntese e análise dos dados arquivísticos relativamente à compra, reparação e posse de flautas de bisel, às características de alguns desses instrumentos, a contratação e actividade dos músicos que os tocavam, e detalhes da prática interpretativa que remetem especificamente para estes instrumentos. Este artigo aborda também o tópico do repertório disponível nas catedrais e igrejas espanholas que possuem registo da sua actividade e, especificamente, da música que integra as colecções para instrumentos de sopro.
    [Show full text]
  • Aragón Is Culture
    ENGLISH ARAGON / IS CULTURE ARAGON IS AN ANCIENT LAND THAT HAS BEEN WITNESS TO THE PASSAGE OF CIVILISATIONS AND CULTURES, CLEARLY RECOGNISABLE IN ITS RICH CULTURAL HERITAGE. Architectural /2 ARAGON IS AN ANCIENT LAND THAT HAS BEEN WITNESS TO THE PASSAGE OF CIVILISATIONS AND CULTURES, CLEARLY RECOGNISABLE IN ITS RICH CULTURAL HERITAGE. Architectural/ ARAGON IS CULTURE From prehistoric times, various civilisations have left their mark on this territory: the Iberians; the Romans, founders of cities; the Muslims, who inhabited the peninsula for seven centuries; the Europeans Heritage arriving along the Way of St James; and the Jews and Christians living side-by-side in many villages. Aragon is culture. And the result of all this, besides a spectacular architectural heritage encompassing all periods and styles, is a cultural background that has shaped an open character, proud of its cultural riches. < Alabaster altarpiece, Cathedral of Huesca. Detail of typical Mudejar decoration. Sádaba Castle (Zaragoza). International Railway Station, Canfranc (Huesca). Romanesque capital of the Church of Santiago, Agüero (Huesca). /3 Aínsa. Medieval town. /4 01/ 02/ ARAGON IN THE PYRENEES IS CULTURE Discovering ancient Thanks to its spectacular artistic monuments architectural heritage amidst unspoilt mountain encompassing all periods and landscapes is an styles, Aragon has developed incomparable experience. an open character, proud of its cultural riches. 03/ THE PYRENEAN 1 FOOTHILLS Enjoying a milder climate than the mountains, the uplands and valleys of the Pyrenean foothills are a living museum offering a huge variety of art. 04/ 05/ TERUEL AND ITS ZARAGOZA AND SURROUNDINGS THE EBRO VALLEY This is the land of the Mudejar, The Ebro River has been of legends of love, of dinosaurs, a channel for successive jamón and many more cultures, enriching the cultural surprises.
    [Show full text]
  • Canterbury Christ Church University's Repository of Research Outputs Http
    Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Swadley, J. (2014) The Villancio in New Spain 1650-1750: morphology, significance and development. Ph.D. thesis, Canterbury Christ Church University. 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 .........................................................................................................................
    [Show full text]
  • Infunde Amorem Cordibus: an Early 16Th-Century Polyphonic Hymn Cycle from Seville
    Juan Ruiz Jime´nez Infunde amorem cordibus: an early 16th-century polyphonic hymn cycle from Seville he manuscript Tarazona Cathedral 2–3 has from 1482 and chapelmaster from 1491, a position Treceived a good deal of attention from eminent he held until 1497. His name reappears in docu- scholars over the last half century. While they have ments from 1503 until his death in September 1504. differed in their findings as to its dating and proven- The identification of Pedro de Porto and Pedro de ance, they have been unanimous in concluding that Escobar remains to be clarified, but only the name it is the most important surviving source for sacred Escobar appears in Seville during the time he music from the time of the Catholic Monarchs, was chapelmaster there (1507–14), and this was 1 7 Ferdinand and Isabella. I have studied the dating how he signed his name ( illus.1). The third and of the manuscript elsewhere, and proposed a Sevil- most prominent composer in Tarazona Cathedral 2 lian origin for it, but here I shall concentrate on 2–3, as well as in the hymn cycle, is Francisco de one important aspect: the cycle of polyphonic Pen˜alosa. hymn settings included in it (see table 1). Indeed, My recent research in the cathedral archives has it was this cycle that first drew attention to the shown that Pen˜alosa was present in Seville more manuscript through the study and edition by often than has been thought, since he was obliged 3 Rudolf Gerber. The Tarazona cycle has since been to reside there in order to obtain the income from studied in the broader context of the hymn cycle the benefices he held at the cathedral.
    [Show full text]
  • Unedited Motets by a Little Known Composer: Alonso Ordóñez Cristina Diego Pacheco
    Unedited Motets by a Little Known Composer: Alonso Ordóñez Cristina Diego Pacheco To cite this version: Cristina Diego Pacheco. Unedited Motets by a Little Known Composer: Alonso Ordóñez. Tess Knighton; Bernadette Nelson. Pure Gold: Golden Age Sacred Music in the Iberian World. A Homage to Bruno Turner, 15, Reichenberger, pp.327-343, 2011, DeMusica, 978-3-937734-88-0. hal-01215243 HAL Id: hal-01215243 https://hal.archives-ouvertes.fr/hal-01215243 Submitted on 12 Nov 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNEDITED MOTETS BY A LITTLE KNOWN COMPOSER: ALONSO ORDÓÑEZ Cristina Diego Pacheco Many Iberian composers of the Renaissance remain to be rediscovered and studied: bringing them out of the obscurity of anonymity has been a task for scholar and performers, motivated by an almost quixotic spirit, over many years. At the forefront of this quixotic endeavour has been Bruno Turner whose pioneering work as editor and conductor has long been dedicated to bringing to light little known composers of the Spanish Renaissance. My own contribution to this volume follows in Bruno’s footsteps and directs the spotlight on one of the many composers who marked Spain out musically in the sixteenth century: Alonso Ordóñez.1 A biographical sketch of Alonso Ordóñez The only details of Ordóñez’s life currently in the scholarly domain are summarized in José López-Calo’s entry for the Diccionario de la Música Española e Hispanoamericana,2 and these will shortly be expanded by Juan Ruiz Jiménez3.
    [Show full text]
  • Via De La Plata
    Spain Spain Gothic Art Gothic Art EUROPEAN COMMUNITY European Regional Development Fund I TABLE OF CONTENTS SPANISH TOURIST INFORMATION UNITED STATES OF AMERICA Introduction 1 OFFICES ABROAD Los Angeles Tourist Office of Spain Gothic Art 2 CANADA. Toronto The three great cathedrals 8 8383 Wilshire Blvd, Suite 960 Tourist Office of Spain Beverly Hills, California 90211 A Tour 2 Bloor Street West Suite 3402 % 1(323) 658 71 88 Andalusia 14 Toronto, Ontario M4W 3E2 ) 1(323) 658 10 61 Aragon 20 % (1416) 961 31 31 www.okspain.org Asturias 24 ) Ireland (1416) 961 19 92 e-mail: [email protected] The Balearic Isles 26 United www.tourspain.toronto.on.ca Chicago The Canary Islands 27 Dublin e-mail: [email protected] Cantabria 28 Kingdom Tourist Office of Spain Castile-La Mancha 30 GREAT BRITAIN. London Water Tower Place, suite 915 East Castile and León 35 London Spanish Tourist Office 845 North Michigan Avenue Catalonia 45 PO BOX 4009 Chicago, Illinois 60 611 Murcian Region 49 London W1A 6NB % 1(312) 642 19 92 Valencian Region 50 % (44207) 486 80 77 ) 1(312) 642 98 17 Extremadura 53 Paris ) (44207) 486 80 34 www.okspain.org Galicia 56 www.tourspain.co.uk e-mail: [email protected] La Rioja 60 e-mail: [email protected] Miami Madrid 62 France Tourist Office of Spain Navarre 64 JAPAN. Tokyo 1221 Brickell Avenue Basque Country66Bay of Biscay Tourist Office of Spain Miami, Florida 33131 Daini Toranomon Denki % Glossary 70 1(305) 358 19 92 Bldg.6F. 3-1-10 ) 1(305) 358 82 23 General information 72 Toranomon.
    [Show full text]
  • The Chronology of Medival and Renaissance Architecture
    Dear Reader, This book was referenced in one of the 185 issues of 'The Builder' Magazine which was published between January 1915 and May 1930. To celebrate the centennial of this publication, the Pictoumasons website presents a complete set of indexed issues of the magazine. As far as the editor was able to, books which were suggested to the reader have been searched for on the internet and included in 'The Builder' library.' This is a book that was preserved for generations on library shelves before it was carefully scanned by one of several organizations as part of a project to make the world's books discoverable online. Wherever possible, the source and original scanner identification has been retained. Only blank pages have been removed and this header- page added. The original book has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books belong to the public and 'pictoumasons' makes no claim of ownership to any of the books in this library; we are merely their custodians. Often, marks, notations and other marginalia present in the original volume will appear in these files – a reminder of this book's long journey from the publisher to a library and finally to you. Since you are reading this book now, you can probably also keep a copy of it on your computer, so we ask you to Keep it legal.
    [Show full text]