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The Music in Garcilaso De La Vega's Poetry and His Poetry in Music: A

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The Music in Garcilaso De La Vega's Poetry and His Poetry in Music: A University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2014-09-25 The Music in Garcilaso de la Vega’s Poetry and his Poetry in Music: A Musico-Poetic Interchange Between Sixteenth-Century Spain and Italy Oss-Cech Chiacchia, Maria Carolina Oss-Cech Chiacchia, M. C. (2014). The Music in Garcilaso de la Vega’s Poetry and his Poetry in Music: A Musico-Poetic Interchange Between Sixteenth-Century Spain and Italy (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28252 http://hdl.handle.net/11023/1819 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Music in Garcilaso de la Vega’s Poetry and his Poetry in Music: A Musico-Poetic Interchange Between Sixteenth-Century Spain and Italy by Maria Carolina Oss-Cech Chiacchia A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY INTERDISCIPLINARY GRADUATE PROGRAM CALGARY, ALBERTA September, 2014 © Maria Carolina Oss-Cech Chiacchia 2014 ABSTRACT This dissertation, about the music of Garcilaso de la Vega’s poetry and his poetry in music, draws from the fields of philology, linguistics, and musicology to provide an interdisciplinary perspective of the topic embedded in two interrelated contexts: Hispanic/Neapolitan Renaissance poetry and music. Garcilaso, a sixteenth-century courtier and soldier, travelled extensively to serve in war especially in Italy. This cross-cultural contact led to the adaptation of Italian poetic forms and meters. Garcilaso fused imitated forms with the lyricism of his Spanish language. Scholars repeatedly praised his poetry for mastery of form and style, and a finest sense of musicality. And thus the question: What do critics mean by musicality? And how does musicality serve the literary medium in the construct of meaning? Few scholars have investigated Garcilaso’s lyric expression. Moreover, considering that humanist imitation of the classics extended to their theories of language as a means to convey their ideology, and given that Renaissance composers sought the finest vernacular poetry for their musical settings, in the second part I pose the question: To what extent did Garcilaso’s poetry and the sixteenth-century musico-poetic context intersect? For the first argument, I construe musicality, in Bakhtinian terms, as the means by which the poetic voice conveys meaning and establishes a dialogue with the listener and other texts. I thus examine the tapestry of poetic linguistic elements that heightens the etymological meaning of words. For the next section, I survey the complex tapestry of Hispanic/Neapolitan dialogic genres to understand how Garcilaso’s poetry intersected with the musico-poetic landscape. My findings reveal that the epithet ‘musical’ in Garcilaso’s poetry, is substantiated by a linguistic soundscape consisting of tangible elements embedded in every fibre of the poetic structures herein analyzed. In the second part of the study, Garcilaso’s poetry emerges in the music collections by Alonso Mudarra, Diego Pisador, Esteban Daza, Pere Alberch Vila, Pedro and Francisco Guerrero, Juan Vásquez, the Italian composer Giulio Severino, and in Italian anonymous manuscripts, such as Magliabechiano XIX (Florence, Italy). This dissertation includes a CD containing Renaissance musical settings of Garcilaso’s poetry, including a new transcription of the Magliabechiano musical setting. ii ACKNOWLEDGEMENTS While I take full responsibility for the shortcomings of this work, my gratitude to the many people that contributed directly or indirectly is without measure. Years ago, I was inspired by the work of Dr. Rachel Schmidt. I was fortunate that she accepted to support me through what began as a haphazard project driven more by a sense of delight and wonder for Garcilaso’s poetry than an understanding of the academic challenges ahead. To say that I am grateful for her Virgilian mentorship, intellectual stimulation, the research assistantship, the generosity of time, the ample sharing of critical insight and unyielding quest for precision and clarity in writing, is an understatement. I also owe to Dr. Schmidt my love for Dámaso Alonso, San Juan de la Cruz, Góngora and Cervantes, whose Licenciado wandered the world with no other reading than Unas Horas de Nuestra Señora y un Garcilaso sin comento. I aknowledge Dr. John Archibald for accepting to serve on my committee at a time of his professional transfer and for continuing a long-distance mentorship. Whereas linguistics was a foreign context before I begun this research, the new insights gained under his guidance broaden the field of understanding considerably. In the field of linguistics, I also recognize Dr. Carter who, along with Dr. Archibald, provided constructive insight and support in the development of my argument on the Ode ad Florem Gnidi. I thank Dr. Francesca Cadel for emphasizing the significant role of women poetess in the Hispanic/Neapolitan context. I gained new appreciation for the poetry of Vittoria Colonna and her Neapolitan humanistic circle of women poets-musicians whose works and influence proved to be significant in the life and works of Garcilaso de la Vega. iii Dr. Susan Lewis Hammond must be recognized for offering me a research assistantship during which time I gained invaluable understanding of the musicological world I was about to enter. The long-distance discussions, critical input, and suggestions for the improvement of my writing were appreciated beyond measure. I aknowledge Dr. Kenneth Brown, for providing me a copy of Morros’s edition of Garcilaso’s works, a book I carry with me at all times. Dr. Brown offered many invaluable insights on Naples and Garcilaso. He gave me several of his articles for this research project and his discovery of Reggio 55 inspired me to consider further the influence of Garcilaso in Italy. I am grateful to Dr. Patricia Hrynkiw, whose academic mentorship began ten years ago. Our lengthy discussions shaped my pedagogical approach greatly and the way I attend to my students. Her gift, a book written by Maxine Greene: Releasing the Imagination, is always at my side reminding me that imagination is a means of decentering oneself into students’ spaces (1995). Since this work is ultimately designed for my students, and since my graduate studies would not have materialized without her unyielding support, I will always be in her debt. When I think of academic and personal mentorship, one person in particular comes to mind: Margaret Ramsey. I thank Margie for her unyielding interest for my studies, and her unconditional sisterhood so often found in poetry but seldom in real life. The kind of support Margie provided me, ranged from personal care packages to the most stimulating academic insight. Her notes throughout the most difficult times were rays of light in often obscure places. Her encouragement during this journey meant a great deal to me, for her advice came from a place of knowing and most of all from true friendship. I acknowledge those researchers who took the time to send me free information from far away universities or libraries. Their responses were always surprisingly generous and most iv appreciated. I also include those who contributed to this work, directly or indirectly, in so many ways. They are: William Anselmi, Robinson Ayala Mejía, Reyes Bertolin-Cebrian, Lorenzo Bianconi, María Teresa Cacho, Elvezio Canonica, Diana Carter, Francesco Ciabattoni, Victor Coelho, Juan José Pastor Comín, Jean Auger-Crow, Marcel Danesi, Aaron Dalton, Jerald Fast, Dinko Fabris, Carlos Foggins, Elizabeth Montes Garcés, Stefano Giannini, Emily Gillen, Edwin Gnandt, John Griffiths, James Haar, Julie Harris, Brita Heimarck, Robert Hollander, Janos Horvath, Noreen Humble, Silvana Iervella, Amelia Labbé, Matteo Lefèvre, Mary Jane Leeder, Ralph Maier, John Malanoski, Timothy McGee, Sal Mendaglio, Francine Michaud, Juan Montero, Ignacio Navarrete, Monique Oliver, Fiona Pinell, Franco Piperno, Angelo Pompilio, Maria Grazia Profeti, John and Margie Ramsey, Susanna Singer, Simone Sorini, Julie Freedman Smith, Louise Stein, Ferdinando Luigi Tagliavini, Tobia Toscano, Massimo Verdicchio, Joelle Welling, Laura Zerilli, and Daniel Zuluaga. I am most indebted to each and every staff member at the Taylor Library at the University of Calgary, including the interlibrary loan crew. In Spain, I recognize the care of the staff at the Biblioteca Nacional de España, the Biblioteca de Castilla-La Mancha in the sala de manuscritos y raros, the Biblioteca Histórica (Universitat de València), and, in Italy, the Palazzo Ducale di Modena, the Biblioteca di Trento, the Biblioteca di Cortona, the staff at the sala manoscritti at the Biblioteca Nazionale di Firenze and the staff at the Florence Uffizi for providing me a private viewing of the Vasari Corridors so that I could transmit direct images of portraits of historical figures to my students. Finally, a research project of this scope comes to fruition thanks to the multifaceted support of a remarkably efficient and supportive academic environment. I recognize
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