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Urüversi^ MjoOTlms International 300 N. Zeeb Road AnnAtbor, Ml 48106 8418586 Madsen, Wanda Jean MEXICAN MISSION MUSIC: A DESCRIPTIVE ANALYSIS AND COMPARISON OF TWO SEVENTEENTH CENTURY CHANT BOOKS The University of Oklahoma D.M.A. 1984 University Microfilms I ntern S.ti on&l sou N. Zeeu Road, Ann Arbor. Ml 48106 Copyright 1984 by Madsen, Wanda Jean All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V 1. Glossy photographs or pages. 2. Colored illustrations, paper or print 3. Photographs with dark background _____ 4. Illustrations are poor copy ______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages ^ — 8. Print exceeds margin requirements _____ 9. Tightly bound copy with print lost in spine ______ 10. 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Other __________________________________________________________________ University Microfiims International THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MEXICAN MISSION MUSIC: A DESCRIPTIVE ANALYSIS AND COMPARISON OF TWO SEVENTEENTH CENTURY CHANT BOOKS A DOCUMENT SUBMITTED TO THE GRADUATE COLLEGE in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By Wanda Jean Madsen Norman, Oklahoma 1984 MEXICAN MISSION MUSIC: A DESCRIPTIVE ANALYSIS AND COMPARISON OF TWO SEVENTEENTH CENTURY CHANT BOOKS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC c 1984 Wanda Jean Madsen ALL RIGHTS RESERVED ACKNOWLEDGEMENTS The writer of this document wishes to express her ap­ preciation to all the people who made this study possible, including : The thesis director. Dr. Bruce M. Govich, who guided the study, offered suggestions as the project progressed, and was instrumental in helping polish the final draft ; The members of the thesis committee who provided counsel during the writing of this document; Dr. Eugene Enrico, Dr. James Faulconer, Dr. Russell Mathis, Dr. William Meyers, and Dr. Irvin Wagner. To persons who willingly gave of their time in interviews and supported the research aspects of this project: Benedict Leutenbegger, O.F.M. Archivist, Old Spanish Missions Historical Research Library at San José Mission, San Antonio, Texas, for his interest in this project from its inception and for his wise counsel R. B. Haller, O.P. Music Program Director, Providence College, Providence, Rhode Island, for the loan of the Dominican Antiphonarium and Graduale Alfred E. Lemmon, Ph.D. Director, The Historic New Orleans Collection, New Orleans, Louisiana, for the loan of photo­ graphs of the Tulane Graduale Martha B. Robertson. Howard-Tilton Memorial Library, Rare Books Collection, Tulane University, New Orleans, Louisiana, for her help with research and for supplying the author of this document with copies of the Tulane Graduale XXI Carol Miller Stubblefield, Tucson, Arizona, for the bio­ graphical information about her father, Walter Miller, and for the photographs of San Lucas which are included in this document The Reverend James A. Stern, First Lutheran Church, Oklahoma City, Oklahoma, for reading this document and for his help with the illustrations included in this paper; To the Project Consultants: Mrs. Pat Tull, Graphologist, Oklahoma City, Oklahoma Ernest J. Burrus, S.J., Sacred Heart Church, El Paso, Texas. Maria Carolina Flores, C.D.P., Coordinator, Programs and Cultural Activities, Old Spanish Missions Research Library at San José Mission, San Antonio, Texas Jack D. Haley, The University of Oklahoma Bizzell Memorial Library, Western History Division, Norman, Oklahoma Pierson de Vries, Jr., Superintendent of Old Spanish Missions, San Antonio, Texas Mrs. Walter S. Miller, Mit la, Oaxaca, Mexico Walter C. McCrone, McCrone Research Institute, Chicago, Illinois Fr. Sancho Jesus, Little Flower Catholic Church, Oklahoma City, Oklahoma; Translations of Source Materials: Joseph Whitecotton, Ph.D., Anthropology Department, The Uni­ versity of Oklahoma, Norman, Oklahoma Jack Catlin, Ph.D., Classics Department, The University of Oklahoma, Norman, Oklahoma Leslie F. Smith, Professor Emeritus, History Department, The University of Oklahoma, Norman, Oklahoma Donna Rusk, Graduate Assistant, Modern Language Department, The University of Oklahoma, Norman, Oklahoma Bruce Saunkeah, Graduate Assistant, Modern Language Depart­ ment, The University of Oklahoma, Norman, Oklahoma. To the libraries who kindly allowed the use of microfilm and source materials : Catholic Archives at San Antonio, Texas Old Spanish Missions Historical Research Library at San Antonio, Texas Quillin Memorial Library at the Witte Museum in San Antonio, Texas University of Texas Library, Nettie L. Benson Latin America Collection, Austin, Texas Our Lady of the Lake University Library, San Antonio, Texas Tulane University Howard-Tilton Memorial Library, Rare Books Collection, New Orleans, Louisiana Providence College Library, Providence, Rhode Island The University of Oklahoma Bizzell Memorial Library, Western History Division, Norman, Oklahoma. To my family for their love and encouragement througout this project. DEDICATION This work is dedicated to the unknown and forgotten missionary priests who dedicated their lives to the establishment of the missions in New Spain. GLORIA DEO vx TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ..................... iii DEDICATION ............................ iv LIST OF ILLUSTRATIONS ................ ix LIST OF MUSICAL EXAMPLES ............ x LIST OF TABLES ........................ xi INTRODUCTION .......................... 1 Origin of the Project ............ 1 Need and Purpose of the Study .... 3 Previous Research ................. 6 Definition of Terms ............... 9 Chapter I. HISTORICAL BACKGROUND OF MUSIC IN NEW SPAIN ................... 12 Music Schools Established ... 13 Native Choirmasters at Oaxaca Cathedral .................. 16 Sixteenth Century Printed Liturgical Books .......... 16 Music for Mass and Canonical Hours ....................... 17 The Properium Sanctorum .... 20 Background of Oaxacan Antiph- onale and Tulane Graduale . 21 The Tulane Graduale ......... 24 II. THE OAXACAN ANTIPHONALE ....... 29 The Contents of the Oaxacan Antiphonale ................ 30 Liturgical Index ............ 32 Chants Not Included in Oaxa­ can Antiphonale ........... 40 The Calligraphy ............. 40 Spanish Influences .......... 41 Notation ..................... 42 Illustrations ................ 43 Paper and Watermarks ........ 44 The Letter in the Binding ... 50 Sequences of the Oaxacan Antiphonale ................ 51 v i x Page Chapter III. THE CONTENTS OF THE OAXACAN ANTIPHONALE ..................... 54 IV. THE CONTENTS OF THE TULANE GRADUALE ........................ 136 Calligraphy .................. 137 Illustrations.................. 140 Watermarks ................... 140 Contents of the Tulane Graduale ................... 142 V. UNIQUENESS OF THE OAXACAN ANTI­ PHONALE ......................... 162 The Properium Sanctorum ..... 166 Festo de St. Catharine ...... 173 Antiphons Included Only in Oaxacan Antiphonale ....... 182 Feasts Unique in Oaxacan Antiphonale ................ 182 Festo de St. Dominic ........ 184 Alleluia