Devotional Music in the Iberian World, 1450-1800: The Villancico and Related Genres

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Contents: Preface
Introduction, Tess Knighton and A lvaro Torrente
Waving ensaladas, Pepe Rey
Song migrations: the case of AdorA!moste, SeA+/-or, Tess Knighton
The villancico in the works of early Castilian playwrights (with a note on the function and performance of the musical parts), Alberto del RA o
Function and liturgical context of the villancico in Salamanca Cathedral, A lvaro Torrente
'The third villancico was a motet': the villancico and related genres, Andrea Bombi
The villancico as music of state in 17th-century Spain, Pablo-L. RodrA guez
Religiosity, power and aspects of social representation in the villancicos of the Portuguese Royal Chapel, Rui Cabral Lopes
'Music charms the senses...': devotional music in the Triunfos festivos of San Gines, Madrid, 1656, Janet Hathaway
A literary and typological study of the late 17th-century villancico, Alain Begue
Pastorelas and the pastoral tradition in 18th-century Spanish villancicos, Pilar Ramos LA(3)pez
The noA"l A grand chA"ur of south-western France and the Iberian villancico: towards a comparison, BenoA (R)t Michel
De rosas cercada: music by Francisco de la Huerta for the nuns of Santa Ana de A vila (1767-78), MarA a Gembero UstA!rroz
Historical and literary vestiges of the villancico in the early modern Philippines, David Irving
The 'ethnic villancico' and racial politics in 17th-century Mexico, Geoffrey Baker
The popular, the sacred, the colonial and the local: the performance of identities in the villancicos from Sucre (Bolivia), Bernardo Illari
Bibliography
Index.

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From the fifteenth century to the beginning of the nineteenth century, devotional music played a fundamental role in the Iberian world. Songs in the vernacular, usually referred to by the generic name of 'villancico', but including forms as varied as madrigals, ensaladas, tonos, cantatas or even oratorios, were regularly performed at many religious feasts in major churches, royal and private chapels, convents and in monasteries. These compositions appear to have progressively fulfilled or supplemented the role occupied by the Latin motet in other countries and, as they were often composed anew for each celebration, the surviving sources vastly outnumber those of Latin compositions; they can be counted in tens of thousands. The close relationship with secular genres, both musical, literary and performative, turned these compositions into a major vehicle for dissemination of vernacular styles throughout the Iberian world. This model of musical production was also cultivated in Portugal and rapidly exported to the Spanish and Portuguese colonies in America and Asia. In many cases, the villancico repertory represents the oldest surviving source of music produced in these regions, thus affording it a primary role in the construction of national identities. The sixteen essays in this volume explore the development of devotional music in the Iberian world in this period, providing the first broad-based survey of this important genre.

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