Hostname: page-component-8448b6f56d-m8qmq Total loading time: 0 Render date: 2024-04-25T05:19:09.586Z Has data issue: false hasContentIssue false
  • English
  • Français

La música y el Atlántico. Relaciones musicales entre España y Latinoamérica. (Music and the Atlantic: Musical Connections between Spain and Latin America.) Edited by María Gembero Ustárroz and Emilio Ros-Fábregas. Granada, Spain: University of Granada, 2007.

Published online by Cambridge University Press:  01 May 2009

Drew Edward Davies
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Information
Journal of the Society for American Music , Volume 3 , Issue 2 , May 2009 , pp. 246 - 251
Copyright
Copyright © The Society for American Music 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Bombi, Andrea, Carreras, Juan José, and Marín, Miguel Ángel, eds., Música y cultura urbana en la edad moderna (Valencia, Spain: University of Valencia, 2005)Google Scholar; and Knighton, Tess and Torrente, Álvaro, eds., Devotional Music in the Iberian World, 1450–1800: The Villancico and Related Genres (Aldershot, U.K.: Ashgate, 2007)Google Scholar.

2 The manuscripts in the Estrada Collection do not appear in the following publications: Spiess, Lincoln and Stanford, E. Thomas, An Introduction to Certain Mexican Musical Archives (Detroit: Information Coordinators, 1969)Google Scholar; Stevenson, Robert, Renaissance and Baroque Musical Sources in the Americas (Washington, D.C.: Organization of American States, 1970)Google Scholar; and Stanford, E. Thomas, Catálogo de los acervos musicales de las catedrales metropolitanas de México y Puebla de la Biblioteca Nacional de Antropología e Historia y otras colecciones menores (Mexico City: Instituto Nacional de Antropología e Historia, 2002)Google Scholar. They will appear, with musical incipits, in the comprehensive cataloging project in progress by members of the Seminario Nacional de Música en la Nueva España y el México Independiente (MUSICAT).

3 Segaut, Nelly, “El concepto de tradición en el análisis de la pintura novohispana: la sacristía de la catedral de México y los conceptos sin ruido,” in Tradición, estilo o escuela en la pintura iberoamericana, ed. Sáiz, María Concepción García and Haces, Juana Gutiérrez (Mexico City: Universidad Nacional Autónoma de México-Instituto de Investigaciones Estéticas, 2004), 207–53Google Scholar; and Davies, Drew Edward, “El triunfo de la iglesia: villancicos dieciochescos para san Pedro,” in Lo sonoro en el ritual catedralicio: Iberoamérica, siglos XVI–XIX, ed. Cayeros, Patricia Díaz (Guadalajara: Universidad Nacional Autónoma de México and Universidad de Guadalajara, 2007), 87–104Google Scholar.

4 Ignacio Jerusalem, Matins for the Virgin of Guadalupe, recorded by Chanticleer (Teldec 21829, 1997).

5 Drew Edward Davies, “The Italianized Frontier: Music at Durango Catedral, Español Culture, and the Aesthetics of Devotion in Eighteenth-Century New Spain” (Ph.D. diss., University of Chicago, 2006), 503. Isugi does not cite the source of her reference to the one work by Rabassa, Pasitico airecillos, she lists from Durango. The date of that manuscript is 1731.