Publication: Aspectos interpretativos del Códice musical de las Huelgas (E-BULH-11): un estudio en torno a la "performance" vocal del canto litúrgico bajomedieval
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2020-03-03
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Universidad Complutense de Madrid
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Abstract
El presente estudio está dedicado a la música del célebre Códice de Las Huelgas y quiere ser una aproximación performativa al repertorio litúrgico bajomedieval. Así pues, tomando el códice como repositorio de estudios de caso y, al mismo tiempo, como paradigma de un volumen compilado para su uso en un contexto concreto, estudiándolo como tal, esta tesis pretende identificar pautas performativas del repertorio contenido en él e indagar en cómo dichas pautas vienen insertas en las propuestas artísticas e históricamente informadas que han visto la luz en las últimas décadas.
Así pues, el estudio se desarrolla partiendo de una contextualización histórica y social del códice de Las Huelgas, tomando como premisa que el contexto condiciona la experiencia performativa y que, así, la ¿circunstancias¿ es algo que ha de ser tomado en cuenta a la hora de hablar de criterios históricos.
A partir de aquí desarrollamos nuestro estudio indagando en pautas performativas en varios aspectos centrales. El primero de ellos, y el más importante en este texto, es la cualidad de la emisión vocal, es decir, qué fue ideal estético, por un lado, y, qué resulta adecuado si pensamos en la cualidad del repertorio tal y como se conserva por escrito. Además de ello, nos dedicamos al estudio de aspectos musicales que vinculan texto¿discurso y disposición del material sonoro.
La última parte del estudio está dedicada a ver cómo los criterios históricos se insertan en el escenario artístico actual, dentro de esta recuperación histórica que tuvo su punto de partida en el movimiento Early Music, sin duda la corriente interpretativa más relevante y con mayor influencia en el marco de la llamada Música Clásica en el transcurso de las últimas décadas del siglo XX.
Este estudio ha podido identificar pautas y circunstancias propias de la performance en los años en los que se copió el códice. Ahora bien, hemos visto como de esos criterios performativos históricos, es sin duda la cualidad de la emisión vocal el criterio que más se deja de lado en las performances actuales de la música de nuestro códice, así como las consideraciones sobre la disposición del material texto-música que articulan el objeto sonoro. Otro criterio histórico que es tomado poco en cuenta es el contexto de la performance que modela el evento como tal, porque la música del manuscrito se tenía intención de que se cantará, como apunta nuestro estudio, de memoria, no con partitura en mano; dentro de una acción litúrgica donde todos fueran participantes activos y no el binomio actual público¿artista, donde el primero es un agente pasivo respecto al segundo; con una estética solemne, al ser la música de un monasterio creado para formar parte de la red institucional de poder de los reyes castellanos y no con un estética vinculada a la world music, las músicas populares, cortesanas o juglarescas; y, finalmente que sus características musicales (estructuración, número de voces longitud¿) se muestran como más vinculadas a los condicionantes de la acción litúrgica y a los efectivos musicales a disposición y sus competencias que al impacto estético que los cantos contenidos en el códice pudieran causar en quien los escucha.
The present study is dedicated to the music of the famous Codex of Las Huelgas and wants to be a performative approach to the medieval liturgical repertoire. Thus, taking the codex as a repository of case studies and, at the same time, as a paradigm of a compiled volume for use in a specific context, studying it as such, this thesis aims to identify performative patterns of the repertoire contained in it and investigate how these guidelines are inserted in the artistic and historically informed proposals that have come to light in recent decades, so the study is developed based on a historical and social contextualization of the Las Huelgas codex, taking as a premise that the context conditions the performative experience and, thus, the "circumstances" is something that has to be taken into account when talking about historical criteria. From here we develop our study by investigating performative guidelines in several central aspects. The first one, and the most important in this text, is the quality of the vocal emission, that is, what was an aesthetic ideal, on the one hand, and, what is appropriate if we think about the quality of the repertoire as it is conserved written. In addition to this, we are dedicated to the study of musical aspects that link text - speech and arrangement of sound material.The last part of the study is dedicated to see how historical criteria are inserted in the current artistic scene, within this historical recovery that had its starting point in the Early Music movement, undoubtedly the most relevant and most influential interpretive current in the framework of the so-called Classical Music during the last decades of the twentieth century. This study has been able to identify patterns and circumstances of the performance in the years in which the codex was copied. Now, we have seen how of those historical performative criteria, it is without a doubt the quality of the vocal emission the criterion that is most neglected in the current performances of the music of our codex, as well as the considerations on the disposition of the text material -music that articulate the sound object. Another historical criterion that is taken little into account is the context of the performance that models the event as such, because the music of the manuscript was intended to be sung, as our study points out, by heart, not with score in hand; within a liturgical action where all were active participants and not the current public-artist binomial, where the former is a passive agent with respect to the latter; with a solemn aesthetic, being the music of a monastery created to be part of the institutional network of power of the Castilian kings and not with an aesthetic linked to world music, popular, courtesan or juggler music; and, finally, that their musical characteristics (structuring, number of voices length) are shown as more linked to the conditions of the liturgical action and to the musical forces available and their competences than to the aesthetic impact that the songs contained in the codex could cause in who listens to them.
The present study is dedicated to the music of the famous Codex of Las Huelgas and wants to be a performative approach to the medieval liturgical repertoire. Thus, taking the codex as a repository of case studies and, at the same time, as a paradigm of a compiled volume for use in a specific context, studying it as such, this thesis aims to identify performative patterns of the repertoire contained in it and investigate how these guidelines are inserted in the artistic and historically informed proposals that have come to light in recent decades, so the study is developed based on a historical and social contextualization of the Las Huelgas codex, taking as a premise that the context conditions the performative experience and, thus, the "circumstances" is something that has to be taken into account when talking about historical criteria. From here we develop our study by investigating performative guidelines in several central aspects. The first one, and the most important in this text, is the quality of the vocal emission, that is, what was an aesthetic ideal, on the one hand, and, what is appropriate if we think about the quality of the repertoire as it is conserved written. In addition to this, we are dedicated to the study of musical aspects that link text - speech and arrangement of sound material.The last part of the study is dedicated to see how historical criteria are inserted in the current artistic scene, within this historical recovery that had its starting point in the Early Music movement, undoubtedly the most relevant and most influential interpretive current in the framework of the so-called Classical Music during the last decades of the twentieth century. This study has been able to identify patterns and circumstances of the performance in the years in which the codex was copied. Now, we have seen how of those historical performative criteria, it is without a doubt the quality of the vocal emission the criterion that is most neglected in the current performances of the music of our codex, as well as the considerations on the disposition of the text material -music that articulate the sound object. Another historical criterion that is taken little into account is the context of the performance that models the event as such, because the music of the manuscript was intended to be sung, as our study points out, by heart, not with score in hand; within a liturgical action where all were active participants and not the current public-artist binomial, where the former is a passive agent with respect to the latter; with a solemn aesthetic, being the music of a monastery created to be part of the institutional network of power of the Castilian kings and not with an aesthetic linked to world music, popular, courtesan or juggler music; and, finally, that their musical characteristics (structuring, number of voices length) are shown as more linked to the conditions of the liturgical action and to the musical forces available and their competences than to the aesthetic impact that the songs contained in the codex could cause in who listens to them.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 26-11-2019