Session Title

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

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May 8th, 3:30 PM

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