Music in the Late Middle Ages on the Iberian Peninsula
Sponsoring Organization(s)
Univ. de Burgos
Organizer Name
Maria Pilar Alonso Abad
Organizer Affiliation
Univ. de Burgos
Presider Name
Robert W. Felkel
Presider Affiliation
Western Michigan Univ.
Paper Title 1
The Codex of the Royal Monastery of Las Huelgas
Presenter 1 Name
Maria Pilar Alonso Abad
Paper Title 2
The Role of Women in Music Composition from the Middle Ages on the Iberian Peninsula and in Other Countries in Western Music: Influences and Legacies
Presenter 2 Name
Javier Centeno Martin
Presenter 2 Affiliation
Univ. de Burgos
Paper Title 3
Music's Transmission in the Middle Ages and the Spanish Renaissance: Valladolid's Musical Codex
Presenter 3 Name
Ignacio Nieto Miguel
Presenter 3 Affiliation
Univ. de Burgos
Start Date
8-5-2014 3:30 PM
Session Location
Schneider 1155
Description
During the Late Middle Ages the medieval music started one of its most glorious pages. This brilliance arrived the Iberian Peninsula –mainly from France– through the pilgrimage (for instance, the Codex Calixtinus) and the promotion of the most prominent classes of the society –courts and monastic orders–, fundamentally, and mixed with the brilliant native lore. This session intends to introduce, bring closer, explain, appreciate and spread the musical richness produced in the Iberian Peninsula between the 13th and the 15th centuries, because of the coexistence of different cultures (christian, islamic and jewish), as well as the variety of music genres and types (andalusian music, Sephardic music, Gregorian chants, Liturgical drama, lyrical monody, polyphony –Ars Antiqua & Ars Nova, as in the Codex de Las Huelgas or the Llibre Vermell de Montserrat), the variety of musical instruments for accompaniment of dances, songs and religious chants (some of them immortalized in the miniatures of the Cantigas de Santa María de Alfonso X el Sabio) and even the music theory and technique (such as the pneumatic musical notation of the Mozarab Antiphonary).
Maria Pilar Alonso Abad
Music in the Late Middle Ages on the Iberian Peninsula
Schneider 1155
During the Late Middle Ages the medieval music started one of its most glorious pages. This brilliance arrived the Iberian Peninsula –mainly from France– through the pilgrimage (for instance, the Codex Calixtinus) and the promotion of the most prominent classes of the society –courts and monastic orders–, fundamentally, and mixed with the brilliant native lore. This session intends to introduce, bring closer, explain, appreciate and spread the musical richness produced in the Iberian Peninsula between the 13th and the 15th centuries, because of the coexistence of different cultures (christian, islamic and jewish), as well as the variety of music genres and types (andalusian music, Sephardic music, Gregorian chants, Liturgical drama, lyrical monody, polyphony –Ars Antiqua & Ars Nova, as in the Codex de Las Huelgas or the Llibre Vermell de Montserrat), the variety of musical instruments for accompaniment of dances, songs and religious chants (some of them immortalized in the miniatures of the Cantigas de Santa María de Alfonso X el Sabio) and even the music theory and technique (such as the pneumatic musical notation of the Mozarab Antiphonary).
Maria Pilar Alonso Abad