ORDO IN CHORO SERVANDUS: RULES FOR THE CHOIR IN COLONIAL MÉXICO by Jorge Adan Torres, B.M.M.E. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a Major in Music August 2016 Committee Members: John C. Schmidt, Chair Kevin Mooney Ludim Pedroza COPYRIGHT by Jorge Adan Torres 2016 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express permission is not allowed. Duplication Permission As the copyright holder of this work I, Jorge Adan Torres, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS There are a multitude of individuals who in one way or another are responsible for the completion of this work. First and foremost, I wish to thank the members of the Thesis Committee. Dr. Kevin Mooney, your persistent questioning of the importance of minuscule findings and how they affect this work—and the world at large—will always echo in the back of my mind. Dr. Ludim Pedroza, your suggestions in the early stages of this work led to a tremendous shift in how I approached and utilized sources. To my advisor and friend, Dr. John Schmidt, your incredible patience and interest in this work have been more than I could have ever asked. A number of libraries were consulted in the creation of this work for a wide variety of materials and sources. While I am bound to forget someone, it may just be easier to collectively thank the library, reference, and archival staff of the following institutions: Albert B. Alkek Library (Texas State University), John Peace Library (University of Texas San Antonio), Main Library (University of Texas Rio Grande Valley-Edinburg, formerly University of Texas Pan American), University Library and Arnulfo L. Oliveira Memorial Lirary (UTRGV-Brownsville, formerly University of Texas Brownsville), and the Nettie Lee Benson Latin American Collection (The University of Texas at Austin). Although I did not have the privilege or opportunity to visit the Yale Divinity School Library, it must be noted that the edition of the Ordo in Choro Servandus utilized for this study is part of their collections. Without the approval iv of their interlibrary loan office to borrow the microfiche containing the Ordo, this work would surely have been more difficult to complete. Furthermore, I am truly grateful to the Harlingen Public Library which facilitated the initial interlibrary loan request for the document and allowed access to their microform readers once it arrived. This work also contains a diverse grouping of primary sources collected throughout three separate excursions to Mexico City. While there, I became acquainted with archivists, other researchers, and members of the cathedral curia. Their assistance in this project was truly indispensible and cannot be over emphasized. My most humble thanks and gratitude go to Salvador Adán Hernández Pech of the Archivo del Cabildo Catedral Metropolitano de México and Marco Antonio Perez Iturbe of the Archivo Historico del Arzobispado de México. I am also deeply indebted to the Sochántre of the Catedral Metropolitana de México Padre Felipe Galicia for allowing me entrance into the choral space of the cathedral in order to take photos of the sillería and providing me with a number of materials concerning the first provincial councils in México. As this project continued through the years, I was able to meet and discuss various aspects of my research with those better versed than myself in either renaissance or Iberian music. In no particular order, I wish to express my deepest gratitude to Jesus Ramos-Kittrell, Alejandro Planchart, Juan Ruiz Jimenez , Drew Edward Davies, Luisa v Nardini, David Burn, and Jesse Rodin for taking time out of their schedules to answer emails, questions, and sharing their wisdom. To my family, your support through this process has been overwhelming. Thank you to Rafael and Norma Garate for pre-flight housing in San Antonio and early morning transportation to the airport before and after each trip to Mexico City. To my wife Vanessa for withstanding such a prolonged project, and finally to my grandmother Mary O. Torres, whom, unbeknownst to me, had resubmitted multiple requests after the initial interlibrary loan was denied. vi TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................... iv LIST OF TABLES ............................................................................................................. ix LIST OF FIGURES .............................................................................................................x LIST OF ABBREVIATIONS ............................................................................................ xi NOTES REGARDING THE DOCUMENT ..................................................................... xii NOTES REGARDING COLONIAL CURRENCY ........................................................ xiii 1.1 INTRODUCTION .........................................................................................................1 2.1 THE RULES ................................................................................................................13 2.2 The First Choral Rule Book of the Cathedral of México.................................14 2.3 The Mexican Provincial Councils ....................................................................17 2.4 Organizational Structure of the Ordo ..............................................................33 2.5 Conclusion .......................................................................................................46 3.1 CEREMONY & RITUAL IN THE MEXICAN CATHEDRAL CHOIR ...................48 3.2 Mass .................................................................................................................49 3.3 Divine Office ...................................................................................................55 3.4 Recreation of Matins ........................................................................................59 3.5 Processions .......................................................................................................63 3.6 La Seña and the Vexilla Regis .........................................................................66 3.7 Conclusion .......................................................................................................74 4.1 CATHEDRAL STRUCTURE .....................................................................................76 4.2 Cabildo Structure .............................................................................................78 4.3 Other Cathedral Personnel ...............................................................................86 4.4 Musical Obligations ........................................................................................94 4.5 Limpieza de Sangre as Qualification ...............................................................98 4.6 Other Obligations ...........................................................................................100 vii 4.7 Architectural Structure of the Choral Space ..................................................104 4.8 Conclusion .....................................................................................................118 5.1 CONCLUSION ..........................................................................................................120 APPENDIX ......................................................................................................................123 GLOSSARY ....................................................................................................................146 WORKS CITED ..............................................................................................................152 viii LIST OF TABLES Table Page 2-1 Establishment of each Diocese in New Spain within the 16th Century .......................18 2-2 Summary of Rules within the Ordo in Choro Servandus ............................................35 2-3 Categorical separation of the rules ..............................................................................37 2-4 Penalties for infraction of choral rules ........................................................................43 3-1 Rules pertaining specifically to the Mass ....................................................................54 3-2 Schedule of the Divine Offices ....................................................................................55 3-3 Reconstruction of Liturgical Day in Cathedral of Puebla ...........................................56 4-1 Choral Offices established by Cathedral Erection document ......................................94 4-2 Choral Offices established within Ordo ......................................................................98 ix LIST OF FIGURES Figure Page 2-1. Timeline of Ecclesiastical Councils, Meetings, & Synods in relation to Trent..........28 3-1. Comparative Summary of Canonical Hours ...............................................................58 3-2. Order of Vespers for Holy Wednesday-Quito ............................................................71