-
La capilla musical de la Catedral de Segorbe en los siglos XVI y XVII [The chapel music at the Segorbe Cathedral in 16th and 18th centuries]
- Author(s):
- Paulino Capdepon (see profile)
- Date:
- 2020
- Group(s):
- American Musicological Society, Early Modern History, History, International Musicological Society (IMS), Society for Music Theory (SMT)
- Subject(s):
- Music, Chapels, Sacred music, History, Modern
- Item Type:
- Book chapter
- Tag(s):
- music
- Permanent URL:
- https://doi.org/10.17613/00ha-0d36
- Abstract:
- The music chapel of the Cathedral of Segorbe has historically played a primordial role in the history of Spanish music, constituting a focus of musical activity that attracted a numerous group of singers, instrumentalists, organists and chapel masters who formed part of the aforementioned chapel, whose antecedents date back to the mid-13th century. From the beginning of 15th century, it is possible to speak of the existence in Segorbe Cathedral of a music chapel organised around a Chapel Master, although we only know of the maestros in Segorbe from the middle of the 15th century, as is the case with the composers who taught music throughout the 16th century: of these last maestros of the musical Renaissance in Segorbe, only the works of Juan Francisco Azín and Nicolás Mariner have come down to us. As far as the 17th century masters from Segovia are concerned, we have obtained more complete information on the career of the authors who worked in the service of the Cathedral. On the other hand, the musical sources are also more numerous, as is the case of Marcos Pérez, Francisco Navarro, Marcelo Settimio (the best represented composer of the Baroque period in the Cathedral archives), Miguel Selma, Miguel Monjiu Panzano and Mateo Peñalba: with this last author we enter fully into the 18th century. The musical production of the aforementioned 17th century composers clearly shows the perfect knowledge of the new Baroque aesthetics based on the solo-tutti contrast, the medio concertato, the grandiose and magnificent polychorality (very evident in Peñalba's work), the use of the basso continuo and the expression of the affections, all of them basic elements and pillars of a seconda prattica which progressively prevailed in the Spanish music of that period.
- Metadata:
- xml
- Published as:
- Book chapter
- Status:
- Published
- Last Updated:
- 3 months ago
- License:
- Attribution-NonCommercial-ShareAlike
capitulojuegosdelsonido.pdf