Faith, Hearing, and the Power of Music in Hispanic Villancicos, 1600-1700

668 Pages·2015·8.01 MB·English

by  Andrew A. Cashner

THEUNIVERSITYOFCHICAGO
FAITH,HEARING,ANDTHEPOWEROFMUSICINHISPANICVILLANCICOS,
1600–1700
ADISSERTATIONSUBMITTEDTO
THEFACULTYOFTHEDIVISIONOFTHEHUMANITIES
INCANDIDACYFORTHEDEGREEOF
DOCTOROFPHILOSOPHY
DEPARTMENTOFMUSIC
BY
ANDREWAARONCASHNER
CHICAGO,ILLINOIS
JUNE2015
Copyright©2015byAndrewAaronCashner
Allrightsreserved
ToAnn,Ben,andJoy,andinmemoryofJosie
ABSTRACT
In seventeenth-century Mexico and Spain, many villancicos (the predominant genre of vocal
sacredmusicwithvernacularwords)usedmusictorepresentitself,withtopicsofsinging,dancing,
and music of the spheres. This study draws on such pieces as sources for understanding early
modernCatholicbeliefsaboutmusic.Thecentralquestionconcernsmusic’sroleintherelationship
betweenhearingandfaith,particularlyasusedbytheSpanishchurchandstate.Inaseriesofcase
studies,theprojecttraceslineagesof“metamusical”villancicosonthesubjectofheavenlymusic
throughnetworksofinterrelatedmusicians.Thestudybalancesaglobalperspectivewithlocal
casestudies,withparticularfocusonPuebladelosÁngelesinMexicoandMontserrat,Segovia,
andZaragozainSpain.
iv
CONTENTS
Abstract iv
ListofTables xiii
ListofFigures xv
ListofMusicalExamples xvii
ListofPoemExcerptsandTranslations xx
Acknowledgments xxiii
Colophon xxvii
AbbreviationsandTerms xxviii
Preface xxx
I HearingFaiththroughMusicinVillancicos
1 VillancicosasMusicalTheology 2
1.1 Sources 5
1.2 OutlineofChapters 6
1.3 MusicaboutMusicintheVillancicoGenre 7
v
1.3.1 PieceswithMultipleTopics:PadillaandCererols 8
1.3.2 ImitativeReferencestoMusic:TopicsofInstruments,Birdsong,Dance
13
1.3.3 AbstractReferencestoMusic:SingingaboutSinging,Solmization,
Nonsense 20
1.3.4 MixedReferencesin“Ethnic”Villancicos 22
1.3.5 VillancicosaboutVillancicos 24
1.4 SignandSignified 29
1.4.1 PointingtoaHigherMusic:TopicsofHeavenlyandAngelicMusic
30
1.4.2 TheAngelicTrope:Salazar,Angélicoscoros 32
1.5 MusicItselfasaConceit 35
1.5.1 SoundingNumber:Hidalgo 38
1.6 VillancicosaboutMusicasaKeytoTheologicalUnderstandingofMusic 41
1.7 MusicologicalContextoftheStudy 44
1.7.1 BringingHispanicMusicintotheConversation 48
2 Music’sPowerintheRelationshipbetweenHearingandFaith 52
2.1 TheChallengeofMakingFaithAppealtoHearing 53
2.1.1 ExperiencingSpiritualTruththroughMusic 57
2.1.2 TheDangerofSubjectiveExperienceinFaith 58
2.1.3 TheNeedforCulturalConditioninginHearing 60
2.1.4 ObstaclestoFaithandMistrustofHearing 63
2.2 VillancicosonSensationandFaith 70
2.2.1 ContestsoftheSensesandEarlyModernConceptsofSensation 70
2.2.2 SensoryConfusion 84
vi
2.2.3 SensoryDeprivation 87
2.2.4 ImpairedHearers,IncompetentTeachers:“Villancicosofthe
Deaf” 89
2.3 ListeningforUnhearableMusic:ThePowerofMusicintheNeoplatonicTradition
108
2.3.1 HearingtheBookofNatureReadAloud 113
2.3.2 VoiceasExpressionofMan,theMicrocosm 116
2.4 ThreeTheologicalFunctionsofVillancicos 120
2.4.1 TheMnemonicFunction 121
2.4.2 TheContemplativeFunction 123
2.4.3 TheAffectiveFunction 126
2.5 Conclusions 127
II SingingaboutSinging:MusicasaReflectionofHeavenandanExpressionof
Humanity
3 VoiceandIncarnationinPadilla,Voces,lasdelacapilla (Puebla,1657) 133
3.1 Padilla’sVoces,lasdelacapilla:HistoricalContext 137
3.2 ThePoemandItsTheology 140
3.2.1 FormalandMetricalStructure 141
3.2.2 MusicalandTheologicalConceits:ChristasMusicandMusician 142
3.2.3 Musical-TheologicalConceitsinDetail 145
3.3 MusicalAnalysis:TheVoicesofPadilla’sChapelChoir 162
3.3.1 FormalStructure 162
3.3.2 RhythmandTextDeclamation 165
3.3.3 MusicalConceits 167
vii
3.4 TheologicalContext:TheTropesofChristmas 179
3.4.1 TheSourcesofChristmasTropes 181
3.4.2 Voces andTropesoftheChristmasLiturgy 184
3.4.3 IncarnationandWonderintheRomanCatechism 189
3.4.4 ChristmasTropesinPreachingandExegesis 191
3.5 TheGenealogyofPadilla’sVillancico 204
3.5.1 PoeticComparisonofPadilla’sVoces andJalón’sCantores 207
3.5.2 HomageandRivalrywithinaSocialNetwork 216
3.6 Conclusions:HearingandFaith 222
4 HeavenlyDissonanceinCererols,Suspended,cielos (Montserrat,ca.1660) 227
4.1 SettingbyJoanCererols:HistoricalBackground 228
4.1.1 Suspended,cielos byCererols:MusicalManuscriptSources 231
4.1.2 AscriptionofLiturgicalFunctionandAuthorship 233
4.2 PerformanceandtheMusicalWorkinSeventeenth-CenturyVillancicos 235
4.3 PoeticandTheologicalAnalysis 238
4.3.1 Musical-TheologicalConceits 239
4.4 MusicalAnalysis 246
4.4.1 Estribillo 248
4.4.2 Coplas 256
4.5 Musical-TheologicalSymbolism 259
4.5.1 DissonanceasIronicSymbol 261
4.6 TheGenealogyofSuspended,cielos 267
4.6.1 ChangingTastesandPerspectivesReflectedinFamilyB 276
4.6.2 TheSecondRoyalChapelVersion(S7):ReturntotheOriginalTradition
278
viii
4.6.3 ConversiontoaGeneral-PurposePieceinEcuador(S10) 278
4.7 Conclusions:MusicbyPadillaandCererolsasaReflectionofHeaven 282
5 TheHumanSideofHeavenlyMusicinSegovia(Irízar,Carrión,1671–1720) 285
5.1 MeetingaLocalCommunity’sDevotionalNeeds 286
5.1.1 MetamusicalVillancicosforSanBlas 288
5.2 CraftingaVillancicoCycle:Irízar’sMusicforChristmas1678 293
5.2.1 Irízar’sCompositionalSchedule 294
5.2.2 TheContentsofthe1678ChristmasNotebook(E-SE:18/36) 297
5.2.3 AssemblingthePoeticSourcesthroughaNetworkofVillancicoExchange
302
5.2.4 FurtherConnectionsalongCompositionalNetworks 308
5.2.5 AdaptingtheSourcesforLocalDevotionalFunctions 311
5.2.6 SketchStudyofQuémúsicacelestial 315
5.3 HarmonyTransposedfromHeaventoEarth:Irízar’sQuémúsicacelestial 317
5.3.1 MusicalAnalysis 322
5.3.2 MotivicandContrapuntalAnalysis 324
5.3.3 Irízar’sPlaceintheTraditionofMetamusicalVillancicos 331
5.4 HarmonyRisingtoHeaven:JerónimodeCarrión,Quédestempladaarmonía
331
5.5 Conclusions:Labor,Devotion,andCommunity 336
6 TheLimitsofImitationinZaragoza(Bruna,Ambiela,Cáseda,toca.1700) 339
6.1 VoicesasFlamesofSelf-Offering:Subanlasvocesalcielo byPabloBruna 340
6.1.1 DevotionalFunction:EucharisticAdoration 342
6.1.2 PoeticandMusicalAnalysis 343
6.1.3 Voice,Flame,andPhoenix 350
ix
6.1.4 Bruna’sMusicalTheology 362
6.2 VoicesRisinginIntercession:Subanlasvocesalcielo byMiguelAmbiela 364
6.2.1 PoeticandTheologicalThemes:MaryinMusic 366
6.2.2 ImitationandHomage 369
6.3 ChristasaVihuela inQuémúsicadivina byJosédeCáseda 375
6.3.1 MetamusicalTropesinthePoetry:ExperiencingaHigherMusic 377
6.3.2 TheologicalTropesoftheCitharaandVihuela 380
6.3.3 RepresentingtheVihuela,RepresentingChrist 390
6.3.4 TheProblemofHearingandFaith 393
6.3.5 FalseMusic 396
6.4 ConclusionstoPartII 404
III ThePowerofMusicinBuildingaColonialCity
7 GatheringEveryonetoChrist’sStable:SocialMeaningsofRhythmicMovementin
PuebladelosÁngeles 406
7.1 Ensaladilla asMicrocosm;ComparisonwithPueblaHigh-AltarPaintings 408
7.2 FundamentalsforRhythmicAnalysisofVillancicos 413
7.3 ScenesandSocialGroups 419
7.3.1 Prologues:TheGreekChorus 422
7.3.2 “ElNuevoTroyano”:TheShepherds 424
7.3.3 “ElArriero”:TheMule-DriverandHisMule 429
7.3.4 “Elpapalotillo”:Serranos,IndianFarmWorkers 439
7.3.5 “LaNegrilla”:TheAngolanSlaves 445
7.4 SingingwiththeAngels:TheNeoplatonicParadox 456
7.5 Conclusions:TheUtopianStable 459
x