Advisor

Kauffman, Beborah

Committee Member

Bellman, Jonathan

Committee Member

Reddick, Carissa

Committee Member

Welsh, Michael

Department

Music History and Literature

Institution

University of Northern Colorado

Type of Resources

Text

Place of Publication

Greeley (Colo.)

Publisher

University of Northern Colorado

Date Created

8-2018

Extent

175 pages

Digital Origin

Born digital

Abstract

Spanish secular songs from the 1460s to 1550s, represented by the forms of romances, villancicos, and cancíones, are found in cancióneros, or songbooks, and published collections for vihuela and solo voice. Organized according to narrative categories and chronology, the songs reflect events before, during, and after the reconquista and portray Moors and Christians from the reign of Isabel and Fernando to beyond the First Morisco Rebellion. Many songs in the cancióneros are anonymous or by little known composers, although seven pieces by Juan del Encina are included. Works in the vihuela publications are represented by the composers, Luis Milán, Alonso de Mudarra, Enrique Valderrábano, Miguel de Fuenllana, and Diego Pisador. Addressing fort-five songs, a larger selection than is typically discussed in scholastic research, the works are divided into narrative categories: The Isabel Songs, The Carillo Songs, The Reconquista Songs (with subcategories of Conflict in Central Spain, Conflict in Andalusia portrayed in the cancióneros, Conflict in Andalusia portrayed in the vihuela publications, and The Other Alhama), Granada Songs, The Morisco Songs, and Hearts Held Captive: Songs of Love, Rejection, and Grief. Textual and musical analyses illuminate the differing narrative threads betweenthe works of the cancióneros and the vihuela publications. From those that display courtly, idealized expressions of love and beauty, to those that portray conflict, battles, and the Moors, the songs reveal differences in perspective, mood, and form. Songs include a previously unidentified set of pieces associated with Archbishop Alfonso Carillo, love songs with disturbing associations of captivity, and the shifting portrayal of Moors through an idealized memory of convivencia, or coexistence. Additionally, the dating of the source, Canciónero musicale de la Colombina, is questioned. These works provide a geocultural narrative of the tumult surrounding the pivotal year of 1492, creating a new prism through which to view this historical period in Spain.

Degree type

PhD

Degree Name

Doctoral

Local Identifiers

Benessa_unco_0161D_10685

Rights Statement

Copyright is held by the author.

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