Descripción:
This book is an outcome of the project The Anatomy of Late-15th- and Early-16th-Century Iberian Polyphonic Music, conducted between 2016 and 2019 at CESEM–Centre for Study of the Sociology and Aesthetics of Music at Universidade NOVA de Lisboa, to which senior and junior scholars contributed in a spirit of collegiality and close cooperation.

The background context for the Anatomy project was the realisation of the large extent to which the centre/periphery discourse dominates the narratives regarding music around 1500, even if these narratives have been challenged in recent decades. Early Iberian polyphonic repertories are still commonly barely acknowledged for their intrinsic technical and aesthetic value owing largely to the fact that they are seen as non-compliant with centric and canonical models, although they are, in fact, legitimate cultural elaborations blending both local and foreign influences.

By dealing with issues of polyphonic techniques and styles, reassessment of sources, processes of transmission and reception of music, and the retracing of composers’ careers, this book offers a fresh look at the establishment of central and local dynamics and the ways in which Iberian repertories negotiate with other European centralities.


CONTENTS

List of Figures - List of Tables - List of Examples

João Pedro d’Alvarenga: Introduction

Composers and Their Works

1. Kenneth Kreitner: The Tordesillas Perplex

2. Grayson Wagstaff: Pedro de Escobar, Polyphonic Liturgical Genres, and Local Traditions in Early Sixteenth-Century Seville

Chant and Polyphony

3. David J. Burn: The Anatomy of Chant-Based Polyphony c. 1500: Iberian and European Perspectives

4. Juan Carlos Asensio: The compositional Process in the Alleluia Settings of E-TZ 2/3: From Plainchant to Polyphony

5. Bernadette Nelson: Manuscript Tarazona 2/3 and the Early Iberian Hymn: An International Perspective in the Post-Du Fay Age

Copying Manuscripts

6. Michael Noone: The Copying and Acquisition of Polyphony at Toledo Cathedral 1418-1542: The Evidence from Inventories and Payment Documents

7. Esperanza Rodríguez-García: Tarazona 2/3, Francisco de Peñalosa, and a Dis-attributed Credo: New Light on the Origins of the Manuscript

Transmission and Performance

8. João Pedro d’Alvarenga: Motet Selections in Early to Mid-Sixteenth-Century Spanish and Portuguese Manuscripts

9. María Elena Cuenca Rodríguez: Early Iberian Polyphonic Masses in the Portuguese Manuscript P-Cug MM 12: The Transmission of Variants, and Performance Concerns

10. Rachel Carpentier: ‘Never was there Greater Fame’: the International Life of a Spanish Song

11. Tess Knighton: Performing and Listening to the Cancionero Repertory in the Fifteenth Century

Analysing Musical Languages and Styles / New Tools of Research

12. Owen Rees: Formulaic and Modular Composition in Unattributed Motets in Portuguese Sources

13. Nuno de Mendonça Raimundo: The Sacred and the Secular: Stylistic Dialogues between Separate Genres

14. Esperanza Rodríguez-García and Cory McKay: Composer Attribution of Renaissance Motets: A Case Study Using Statistical Features and Machine Learning



Bibliography - Index