Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Sixteenth-Century Spanish Musicians in the New World

Sixteenth-Century Spanish Musicians in the New World ThaT 1598 Tomás Luis de Victoria should authorize his Sevillian agents to collect 900 reales due for the sale of his music far-away Peru is evidence not only that the composer's fame was far reachg, but also that Cathedral music New Spa was of high enough caliber to create a demand for the fest pensular music. Lat Americans pot with pride to the fact that from conquest native dians displayed an amazg capacity for music and that not for long were Cathedrals dependent on Iberian musicians to fill their posts. Already the first century after conquest, both Mexico and Peru, the position of chapelmaster could (and sometimes had to) be filled without recourse to the mother country. But it should not be forgotten that one purpose of Spanish colonization was the transplantation of Spanish culture to new soil and that therefore the history of New World music, the first century at least, belongs to Spa. History has not always seen it this way. Consequently, those Iberian musicians who crossed the Atlantic have often been ignored assessg the Spanish contribution to Renaissance music. As late as 1959, for stance, Gustave Reese, his Music the Renaissance, could devote only two http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Explorations in Renaissance Culture Brill

Sixteenth-Century Spanish Musicians in the New World

Brothers, Lester D.
Explorations in Renaissance Culture , Volume 40 (1-2): 31 – Apr 20, 2014
Download PDF
10 pages

Loading next page...
 
/lp/brill/sixteenth-century-spanish-musicians-in-the-new-world-6Em7JKrXCV

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
Brill
Copyright
© Copyright 2014 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0098-2474
eISSN
2352-6963
DOI
10.1163/23526963-90000461
Publisher site
See Article on Publisher Site

Abstract

ThaT 1598 Tomás Luis de Victoria should authorize his Sevillian agents to collect 900 reales due for the sale of his music far-away Peru is evidence not only that the composer's fame was far reachg, but also that Cathedral music New Spa was of high enough caliber to create a demand for the fest pensular music. Lat Americans pot with pride to the fact that from conquest native dians displayed an amazg capacity for music and that not for long were Cathedrals dependent on Iberian musicians to fill their posts. Already the first century after conquest, both Mexico and Peru, the position of chapelmaster could (and sometimes had to) be filled without recourse to the mother country. But it should not be forgotten that one purpose of Spanish colonization was the transplantation of Spanish culture to new soil and that therefore the history of New World music, the first century at least, belongs to Spa. History has not always seen it this way. Consequently, those Iberian musicians who crossed the Atlantic have often been ignored assessg the Spanish contribution to Renaissance music. As late as 1959, for stance, Gustave Reese, his Music the Renaissance, could devote only two

Journal

Explorations in Renaissance Culture – Brill

Published: Apr 20, 2014

There are no references for this article.