Publication: La tradición monódica hispana en las lamentaciones polifónicas del Renacimiento en España
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2016-10-18
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Universidad Complutense de Madrid
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Abstract
Las lamentaciones son un género cultivado a lo largo de la historia de la música occidental, desde la Antigüedad al siglo XXI, pero su estudio ha sido tratado de un modo desigual en la historiografía musical religiosa. Todavía son muchas y variadas las cuestiones por resolver con respecto a la práctica de este género en la Edad Media y el Renacimiento. Por tanto, esta investigación de las lamentaciones, junto con los trabajos realizados por otros autores en otros repertorios1, tiene por objetivo contribuir a una reconstrucción más completa de la historia de la música española e hispanoamericana en la Edad Moderna. Esta tesis doctoral analiza la tradición cantollanística hispana en las lamentaciones polifónicas del Renacimiento en España, y su relación con el contexto europeo, estudio que no es posible sin un conocimiento previo de las melodías del canto llano. Casi la totalidad de los polifonistas españoles usaron cantos monódicos preexistentes en sus lamentaciones polifónicas, como hicieron también otros maestros renacentistas. Lo significativo es que los tonos empleados por los compositores españoles son diferentes de las melodías monódicas utilizadas en las lamentaciones polifónicas coetáneas europeas. Esta investigación parte de la hipótesis de que las lamentaciones polifónicas españolas de los siglos XV y XVI están basadas en una tradición monódica medieval de raíz hispana, probable pervivencia del antiguo rito hispano. Por consiguiente, antes de estudiar el corpus polifónico español, hay que desentrañar los rasgos textuales y melódicos de las lamentaciones hispanas en la España medieval, y la pervivencia, transformación y transferencia de este repertorio a los contextos litúrgicos pre- y postridentino —un tema importante que ha sido poco estudiado y a menudo mal comprendido...
Lamentations have been cultivated throughout the history of Western music, from Antiquity to the twenty-first century, yet the study of this genre has been subjected to unequal treatment in the historiography of sacred music. There are still a large variety of questions that have yet to be resolved with respect to the performance of this repertory during the Middle Ages and the Renaissance. Thus, this study of lamentations, in conjunction with the work carried out by other authors into other repertoires1, aims to contribute to a more complete reconstruction of the history of Spanish and Spanish-American music during the period from the Middle Ages to the French Revolution. This PhD thesis analyses the Spanish plainchant tradition in polyphonic lamentations during the Renaissance in Spain, and their relationship to the European context. This study would be impossible to carry out without prior knowledge of plainchant melodies. Almost all Spanish polyphonists used pre-existing plainchants in their polyphonic lamentations, as did other Renaissance composers. What is significant is that the tones the Spanish composers used are different to the recitativelike conduct found in European polyphonic lamentations of the same period. This research is based on the hypothesis that fifteenth- and sixteenth-century Spanish polyphonic lamentations are based on a Medieval monophonic tradition of Hispanic roots, which probably survived from the early Spanish rite. Consequently, before studying the Spanish polyphonic corpus, the textual and melodic features of Medieval Spanish lamentations must be unravelled, as should the survival, transformation and transference of this repertory to the pre- and post- Tridentine liturgical contexts —an important issue that has been little studied and is often misunderstood.
Lamentations have been cultivated throughout the history of Western music, from Antiquity to the twenty-first century, yet the study of this genre has been subjected to unequal treatment in the historiography of sacred music. There are still a large variety of questions that have yet to be resolved with respect to the performance of this repertory during the Middle Ages and the Renaissance. Thus, this study of lamentations, in conjunction with the work carried out by other authors into other repertoires1, aims to contribute to a more complete reconstruction of the history of Spanish and Spanish-American music during the period from the Middle Ages to the French Revolution. This PhD thesis analyses the Spanish plainchant tradition in polyphonic lamentations during the Renaissance in Spain, and their relationship to the European context. This study would be impossible to carry out without prior knowledge of plainchant melodies. Almost all Spanish polyphonists used pre-existing plainchants in their polyphonic lamentations, as did other Renaissance composers. What is significant is that the tones the Spanish composers used are different to the recitativelike conduct found in European polyphonic lamentations of the same period. This research is based on the hypothesis that fifteenth- and sixteenth-century Spanish polyphonic lamentations are based on a Medieval monophonic tradition of Hispanic roots, which probably survived from the early Spanish rite. Consequently, before studying the Spanish polyphonic corpus, the textual and melodic features of Medieval Spanish lamentations must be unravelled, as should the survival, transformation and transference of this repertory to the pre- and post- Tridentine liturgical contexts —an important issue that has been little studied and is often misunderstood.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 10-02-2016