University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 8-2018 Secular Song of the Spanish Renaissance: Portrayals of Moors and Christians During the Reign of Isabel and Fernando, the Reconquest, and the First Morisco Rebellion Katharyn Reishus Benessa Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Benessa, Katharyn Reishus, "Secular Song of the Spanish Renaissance: Portrayals of Moors and Christians During the Reign of Isabel and Fernando, the Reconquest, and the First Morisco Rebellion" (2018). Dissertations. 478. https://digscholarship.unco.edu/dissertations/478 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2018 KATHARYN REISHUS BENESSA ALL RIGHTS RESERVED ! ! ! ! ! ! UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School ! ! SECULAR SONG OF THE SPANISH RENAISSANCE: PORTRAYALS OF MOORS AND CHRISTIANS DURING THE REIGN OF ISABEL AND FERNANDO, THE RECONQUEST, AND THE FIRST MORISCO REBELLION! ! A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor !of Arts ! Katharyn Reishus Benessa ! ! College of Performing and Visual Arts School of Music Music History !and Literature August 2018 This Dissertation by: Katharyn Reishus Benessa Entitled: Secular Song of the Spanish Renaissance: Portrayals of Moors and Christians during the reign of Isabel and Fernando, the Reconquest, and the First Morisco Rebellion! . ! has been approved as meeting the requirement for the Degree of Doctor of Arts in the College! of Music. ! !Accepted by the Doctoral Committee ! ______________________________________________________ !Deborah Kauffman, D.M.A., Research Advisor _____________________________________________________ !Jonathan Bellman, D.M.A., Committee Member ______________________________________________________ !Carissa Reddick, Ph.D., Committee Member ______________________________________________________ !Michael Welsh, Ph.D., Faculty Representative ! ! ! !Date of Dissertation Defense _______________________________ ! ! !Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ! ! ! ABSTRACT ! Benessa, Katharyn Reishus. Secular Song of the Spanish Renaissance: Portrayals of Moors and Christians during the reign of Isabel and Fernando, the Reconquest, and the First Morisco Rebellion. Published Doctor of Arts dissertation, University !of Northern Colorado, 2018. Spanish secular songs from the 1460s to 1550s, represented by the forms of romances, villancicos, and cancíones, are found in cancióneros, or songbooks, and published collections for vihuela and solo voice. Organized according to narrative categories and chronology, the songs reflect events before, during, and after the reconquista and portray Moors and Christians from the reign of Isabel and Fernando to beyond the First Morisco Rebellion. Many songs in the cancióneros are anonymous or by little known composers, although seven pieces by Juan del Encina are included. Works in the vihuela publications are represented by the composers, Luis Milán, Alonso de Mudarra, Enrique Valderrábano, Miguel de Fuenllana, and Diego Pisador. Addressing fort-five songs, a larger selection than is typically discussed in scholastic research, the works are divided into narrative categories: The Isabel Songs, The Carillo Songs, The Reconquista Songs (with subcategories of Conflict in Central Spain, Conflict in Andalusia portrayed in the cancióneros, Conflict in Andalusia !iii portrayed in the vihuela publications, and The Other Alhama), Granada Songs, The Morisco Songs, and Hearts Held Captive: Songs of Love, Rejection, and Grief. Textual and musical analyses illuminate the differing narrative threads betweenthe works of the cancióneros and the vihuela publications. From those that display courtly, idealized expressions of love and beauty, to those that portray conflict, battles, and the Moors, the songs reveal differences in perspective, mood, and form. Songs include a previously unidentified set of pieces associated with Archbishop Alfonso Carillo, love songs with disturbing associations of captivity, and the shifting portrayal of Moors through an idealized memory of convivencia, or coexistence. Additionally, the dating of the source, Canciónero musicale de la Colombina, is questioned. These works provide a geocultural narrative of the tumult surrounding the pivotal year of 1492, creating a new prism through which to view this historical period in Spain. ! ! ! ! ! ! ! ! ! ! !iv ! ! ! ACKNOWLEDGEMENTS Above all, I thank Deborah Kauffman. As a mentor and role model, I could have found no one better to guide me through my degree. As my research advisor…well, let me just say that if editing were a super power, Dr. Kauffman would have her own film, graphic novel, and line of merchandise. With genuine gratitude, I acknowledge the other members of my committee, each of whom relinquished a slice of their summer to get me on my way: Jonathan Bellman, because music is worth arguing about; Carissa Reddick, who makes music theory audible; and Michael Welsh, for jumping in at the last minute, and with a few pithy strokes, showed me how to paint a broader picture of Renaissance Spain. I thank the UNC School of Music for being the perfect program for me, and Stephen Luttman, for being UNC Music. Appreciation to Deborah Kauffman (again!) and Thomas Lack for working on the beautiful music examples, and to Ben Bellman for eleventh-hour cartography. With endless devotion, I acknowledge my guitar and lute people. You are why I am here: Deborah Fox, who shaped my path; Robert Ruck, for the golden guitar; Robert Guthrie, who gave me my first Fuenllana piece; Robert Castellano, for introducing me to period instruments; Alexander Batov, for the winter apple, the smell of wood, and the never-ending inspiration found in his beautiful instruments; Richard Thurstans, for his humo[u]r, and role as sounding board and tour guide; Douglas Alton Smith, my !v champion; and Phillip de Fremery, who first suggested I study guitar and music history (I blame you the most!). To my high school English teacher, Janet MacBeth, who introduced me to the concept of hearing the tone in poetry: you are all over this study. I must recognize several people who are no longer with us: Merriam Whaples, who taught me how to use a Mac and made me read Tovey; Herbert Turrentine, who introduced me to iconography, and shared his dream to return to school after retiring, thus introducing me to the endless possibilities of lifelong learning; and Patrick O’Brien, for whom words are not enough — every time I play, I think if you, and I thank you. I count my lucky stars for every person listed above. No one has influenced my life more than teachers. I cannot forget my parents and grandparents for sending me to Walnut Hill School for the Arts and igniting a life in the arts. And lastly, I thank my daughter, Nora: edgy, dark, funny, creative, with an unapologetically, perfect memory — I am honored to have such a great person in my life. Finishing this degree is part of my contract to you: if I can do this, you can do anything. *** I dedicate this work to every library I have ever set foot in, and to the card catalogs of my childhood, the smell of which should be distilled down to a perfume. !vi ! ! ! ! ! ! TABLE OF CONTENTS ! CHAPTER! I. INTRODUCTION ……………………………………………… 1 Methodology Review of Literature II. BACKGROUND ………………………………………………. 16 Historical Background Sources Cancíoneros Vihuela Publications Forms Romances Villancicos Cancíones III. SONG TOPICS AND ANALYSES …………………………….. 38 The Isabel Songs The Carillo Songs The Reconquista Songs Conflict in Central Spain Conflict in Andalusia Portrayed in Cancíoneros Conflict in Andalusia Portrayed in the Vihuela Publications The Other Alhama The Granada Songs The Morisco Songs Hearts Held Captive: Songs of Love, Rejection, and Grief Unhappy Spain IV. CONCLUSION ………………………………………………… 143 !vii BIBLIOGRAPHY …….……………………………………………………… 148 APPENDIX A. Timeline……………………………………………………………….. 152 B. Maps ………………………………..………………………………… 155 C. Song List ……………………………………………………….….….. 159 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !viii ! ! ! ! ! LIST OF !TABLES Table 1.1 Cancióneros……………………………………………………………. 4 1.2 Vihuela Publications…………………………………………………… 4 1.3 Songs included in selected research…………………………………… 15 3.1 The Isabel Songs………………………………………………………. 40 3.3 “Ysabel, perdiste la tu faxa,” text……………………………………… 47 3.4 “Viva el gran Re,” text………………………………………………… 50 3.5 The Carillo Songs……………………………………………………… 53 3.6 The Reconquista Songs………………………………………………… 66 3.7 “En Avila,” text………………………………………………………… 68 3.8: “Alburquerque” text…………………………………………………… 70 3.9: “Muy crueles voces,” Vuelta text……………………………………… 75 3.10: “Caballeros de Alcalá,” text………………………………………….. 78 3.11: “Sobre Baza,” text……………………………………………………. 82 3.12: “Por los campos,” text………………………………………………… 83 3.13: “De’Antequera sale el moro,” text…………………………………… 87 3.14: “La Mañana de Sant Juan,” text……………………………………… 89 3.15: “Passeavase el rey moro,” stanza 1………………………………… 91 !ix 3.16: “Dile que Pedro