Speakers
Description
From the conquest of the Americas and the establishment of the viceroyalty system, commercial, migratory, and cultural processes were altered, a phenomenon commonly referred to as an early form of globalization. This led to the emergence of new dynamics that not only connected Europe and the Mediterranean world with the Americas but also, from the very beginning, fostered exchanges and dialogues between the various regions of the Greater Caribbean and the American continent. Additionally, from the 16th century, numerous parishes, cathedrals, colleges, and monasteries proliferated, becoming central hubs for musical practice in the New World, while also participating in this new and complex cultural framework.
In this roundtable, we propose to explore these exchange networks from a broad perspective, addressing the circulation of musical works both in intercontinental contexts and between different regions of the Americas, as well as their reproduction and representation. We will also consider the urban dynamics and the connections between various institutions and liturgical and civil spaces that shaped the musical production and performance landscape of the period. From this standpoint, five papers will be presented, covering multiple regions of the Americas and focusing particularly on the 17th and 18th centuries:
Music of the Cathedral of Oaxaca preserved in the Cathedral of Guatemala, through the circulation of works and the mechanisms by which the repertoire could have been transmitted.
Links between Iberian villancicos and those preserved in the archive of the Cathedral of Santiago de Chile. This paper analyzes the circulation of texts and their reuse and adaptation in colonial Hispano-America.
Musical life of the women at the Colegio de Santa Rosa de Santa María in the former Valladolid (now Morelia, Michoacán). This research focuses on two musical manuscripts that exemplify the instrumental and interpretive skill of the New Spanish students, while also shedding light on the musical context within the Colegio and its relationships with other liturgical spaces.
The arrival of a set of lamentations by Manuel Mencía Tajueco (ca. 1731-1805), chapel master at the Monastery of the Descalzas Reales in Madrid, to the Río de la Plata, performed well into the 19th century and preserved in the archive of the Cathedral of Buenos Aires.
Musical activity at the Cathedral of Xalapa, Veracruz, as reflected in the accounting books preserved in its archive. This study reveals the musical life of the cathedral in the second half of the 18th century and its connections with the city's brotherhoods and nearby parishes at a time when Xalapa was consolidating as a major transit point on the road from Veracruz to the viceroyalty capital.
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