UNIVERSITY OF CALIFORNIA RIVERSIDE Musical Encounters Along the Contemporary Camino de Santiago A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Hannah Snavely June 2020 Thesis Committee: Dr. Deborah Wong, Chairperson Dr. Jonathan Ritter Dr. Walter Aaron Clark Copyright by Hannah Snavely 2020 The Thesis of Hannah Snavely is approved: Committee Chairperson University of California, Riverside Acknowledgements This thesis was only possible through the support of both my scholarly and personal community. First and foremost, I thank my committee for your guidance, support, and wisdom over the past two years - your mentorship has been foundational to my success as a scholar thus far. Deborah Wong, thank you for pushing me, asking good questions, and seeing the gaps in my research that I could not - your theoretical insights and excitement for this topic continued to inspire me throughout the writing process. Jonathan Ritter, thank you for your wisdom throughout many courses and my comprehensive exams so that I could incorporate theoretical content and increased nuance to my writing. Walter Aaron Clark, thank you for imparting with me your immense knowledge about music in Spain and for your enthusiasm and support for my research. Finally, thank you all for your insightful comments and edits to this thesis. To Liz Przybylski and Xóchitl Chávez, thank you for your mentorship throughout seminars and teaching, and thank you for always challenging me to think more deeply about theories. Thank you as well to the UCR Office of Research Integrity for your support in the IRB application process. To my cohort: you all are the absolute best. Anna, Chun Chia, Pup, and Bob, I have loved being able to take courses with you, think together, and grow as scholars. Pedro and Leo, thank you for your unbounded hospitality in Madrid and for taking care of me when I was injured. You gave me a home and security in a new place, and I am forever grateful. iv To my Camino Crew: thank you for your friendship and kindness while walking and our continued conversations throughout the writing of this thesis. Ángela, gracias por enviarme un mensaje para caminar juntas. Gracias por compartir más de tu país conmigo; disfruté mi tiempo mucho. Sadhbh and Binyamin, thank you for helping to carry my research equipment for a couple days and for sharing in my love of empanadas and ice cream in Santiago. Hannah, Patrick, and Austin: thank you for walking slowly with me. Your love and kindness meant more than you could possibly ever imagine. Drew, Tanner, and Nykole: thank you for always making me laugh and for remaining my constants even as I took off days. Tobin, thank you for being excited and supportive of my research while walking and for introducing me to Radlers. And Colin, thank you for letting me join you on your journey from my first day, and thanks for accompanying me to so many concerts. I hope you all grew from this experience and found the healing you were looking for. To Crest Community Church: thank you for taking me in during my grad school years, and for truly being my family in California. My graduate studies were forever changed for the better because of you all, and I cannot imagine where I would be without you. Beth, thank you for asking me to coffee my first year, for your mentorship, and for many lunches and phone calls. Sue and Jim, my first set of California parents, thank you for your hospitality during a difficult year, for reminding me that all academics have spent years holed up to get further in their career, and for sharing the light, hope, and joy of Christ with me. Grace, thank you for the paintings - they bring daily rest and inspiration to my life. Kelly, my second California mom, thank you for the many hikes v and opportunities to go into nature and recharge my brain and soul; and Kristen, my California cousin, thank you for all the baking adventures. Clinton, Arie, Dave, Kent, Alan, and Diane: thank you for the many weeks of making great music together. To my housemate Alicia, you have been my rock and closest friend here in Riverside, supporting my work, listening to my excited ramblings, cooking me food, and reminding me to rest. Myke, I am so happy you joined our home while I was writing this thesis. You brought such laughter and joy to our house. Mom and Dad, thank you for always supporting my studies, teaching me to work hard since birth, and letting me travel and pursue degrees in the arts. Thank you for loving me from afar and for our weekly phone calls. Rachel, thanks for listening to me through my self-doubts and for your constant love, encouragement, and positivity. And Leah, thank you for the many conversations about our research, for being my first reader for pretty much everything, and for challenging me to always do my best. Finally, I thank God for granting me grace and peace each day of this journey and for holding me fast and restoring my soul. vi To those for whom I carried rocks May the Lord continue to bless and keep you. To those who walked in response to suffering, May you be healed and restored. To those who sought something more out of life, May you someday find what you were looking for. And to the many feet that carried the listening bodies along the way, May your ears be ever open to the sacred around you. vii ABSTRACT OF THE THESIS Musical Encounters Along the Contemporary Camino de Santiago by Hannah Snavely Master of Arts, Graduate Program in Music University of California, Riverside, June 2020 Dr. Deborah Wong, Chairperson This thesis examines how individuals use sonic practices to shape the social space of the Camino de Santiago, specifically analyzing how pilgrims’ and locals’ musical encounters create the contemporary Camino. The pilgrims’ practices and spaces simultaneously intertwined with, rivaled, and sounded in synchrony with lived places grounded in local histories and politics. As I understand the Camino not simply as a site to practice one’s own culture or religion through music and sound but also to become immersed in and begin to understand others’ customs, contestations, and transformations between the international pilgrims and the local Spaniards characterize the route. The contemporary Camino is marked by a new emphasis on sustained spiritualities, encounters with transformed cultural heritage events, and heightened access to fleeting global-local interactions. Based on accounts of listening practices and interpretations of events, I first study how ritualized global musical encounters utilized cosmopolitan musical knowledge while simultaneously depending upon national difference to facilitate sentiments of communitas. Next, I examine how Catholic religious music delineated sacred places for the pilgrims, demarcating for them which sonic events were part of the viii Camino. Exploring religious festivals, I demonstrate how pilgrims were witnesses to Spanish cultural and musical practices that heightened the authenticity of the experience, as they ascribed varied levels of meaning and significance to places along the way. After arriving to Santiago, I investigate the ways politically charged performances and assertions of regional identities in Galicia expanded and interacted with the religious to signify locality and reterritorialize place. Finally, I end by exploring one particular song sung throughout the Camino and how its lyrics and history embody the many themes throughout this thesis. ix Table of Contents Acknowledgements ........................................................................................................ iv List of Figures ................................................................................................................. xi Note on Audiovisual Examples .................................................................................... xii List of Audio Examples ............................................................................................... xiii List of Video Examples ................................................................................................ xiv First Steps, First Sounds .................................................................................................. 1 Sustained Spiritualities ................................................................................................ 9 Transformed Actualities of Cultural Heritage ........................................................... 12 Access to Fleeting Global-Local Interactions ........................................................... 16 The Way I Walked the Way .......................................................................................... 20 Encountering Globalized Musics, Creating Communitas ............................................. 26 Sustaining the Sacred, Defining the Camino ................................................................. 36 A Walk Past Local Heritage .......................................................................................... 43 A Listen Past Local Musics ........................................................................................... 52 Ultreia! ........................................................................................................................... 62 Glossary ......................................................................................................................... 68 References ....................................................................................................................