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.
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
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
Esperanza Rodríguez-García is a cultural musicologist, with a specialisation in digital humanities. She currently holds a MSCA Fellowship at the CESR–Université de Tours, where she develops the project Experiencing Historical Soundscapes: the Royal Entries of Emperor Charles V in Iberian Cities. On leave from her post as a researcher at the Universidade NOVA de Lisboa, she has held research positions at various institutions in the UK. She has published on aspects of the music of the Early Modern period, such as on musical sources, repertories, historiography, book history, and music analysis. She has co-edited Mapping the Motet in the post-Tridentine Era (Routledge, Abingdon, 2019).
João Pedro d’Alvarenga is a Principal Researcher, Coordinator of the Early Music Studies Research Group, and Executive Secretary of the CESEM at NOVA FCSH. He led the settlement of the National Music Museum in Lisbon and was Head of the Music Section at the National Library of Portugal, which he also organised. He has published extensively on medieval chant sources and notation and Iberian sacred and keyboard music from the late fifteenth to the mid eighteenth century and currently directs the project Lost&Found: Recovering, Reconstituting, and Recreating Musical Fragments (c.1100-c.1600), funded by the Portuguese Government through the FCT–Portuguese Foundation for Science and Technology.
Juan Carlos Asensio Palacios, Escola Superior de Música de Catalunya, Barcelona, Spain
Prof. David J. Burn, Department of Musicology, Katholieke Universiteit Leuven, Leuven, Belgium
Rachel Carpentier, Department of Musicology, Boston University, Boston, MA, US
Dr. María Elena Cuenca Rodríguez, Universidad Autónoma de Madrid, Madrid, Spain
Dr. João Pedro d’Alvarenga, CESEM - Centre for the Study of the Sociology and Aesthetics of Music, Universidade NOVA de Lisboa, Lisboa, Portugal
Prof. Tess Knighton, ICREA - Institució Catalana de Recerca i Estudis Avançats, Universitat Autònoma de Barcelona, Barcelona, Spain
Prof. Kenneth Kreitner, Rudi E. Scheidt School of Music, The University of Memphis, Memphis, TN, US
Dr. Cory McKay, Marianopolis College, Centre for Interdisciplinary Research in Music Media and Technology, Montréal, Canada
Nuno de Mendonça Raimundo, CESEM - Centre for the Study of the Sociology and Aesthetics of Music, Universidade NOVA de Lisboa, Lisboa, Portugal
Dr. Bernadette Nelson, CESEM - Centre for the Study of the Sociology and Aesthetics of Music, Universidade NOVA de Lisboa, Lisboa, Portugal
Prof. Michael Noone, Music Department, Boston College, Chestnut Hill, MA, US
Prof. Owen Rees, The Queen’s College, University of Oxford, Oxford, UK
Dr. Esperanza Rodríguez-García, CESR - Centre d'études supérieures de la Renaissance, Tours, France
Prof. Grayson Wagstaff, Benjamin T. Rome School of Music, Catholic University of America, Washington DC, US
Eva Mathilde Ribeiro (indexer), CESEM - Centre for the Study of the Sociology and Aesthetics of Music, Universidade NOVA de Lisboa, Lisboa, Portugal