The Royal Chapel in the Time of the Habsburgs: Music and Ceremony in the Early Modern European CourtJuan José Carreras López, Bernardo José García García, Tess Knighton Boydell Press, 2005 - 402 páginas Focusing on the royal chapel established by Philip II in Madrid, the essays in this richly illustrated volume offer a series of different perspectives on the development of the main court chapels of Europe. English version edited by Tess Knighton The royal chapel, in Europe as a whole and in Spain in particular, was a cultural institution where court ceremonial, politics, music and the arts were brought together in terms of space and function. The ramifications for the patronage and cultivation of the arts and the dynamic between music and the arts and the concept of kingship form the focus of the text. The phenomenon of groupings of singers, chaplainsand musicians at the service of the different European monarchies is of great significance both for the history of music, and the political and cultural history of the court in general. The royal chapel established by Philip II in Madrid was the central religious and musical institution of royal power until well into the eighteenth century, and using this as a focus, the essays in this richly illustrated volume offer a series of different perspectives onthe development of the main court chapels of Europe. These papers were delivered at the international seminar, 'La Real Capilla de Palacio en la época de los Austrias', under the auspices of the Fundación Carlos de Amberes,Madrid from 14 to 16 December, 2000. The volume is edited by Tess Knighton, Juan José Carreras and Bernardo García García, and translated by Yolanda Acker. |
Índice
Music in the Spanish royal chapel | 5 |
a musical profile and the historiographical context of an | 8 |
models and perspectives | 23 |
music ceremony and dynasty in Renaissance Florence and | 29 |
The institution of the imperial court chapel from Maximilian I to Charles VI | 40 |
The Chapelle Royale in the time of Louis XIV | 48 |
Foreign music and musicians in sixteenthcentury Spain 66 | 65 |
Toledo 1502 55 | 85 |
The form and function of the music chapel at the court of Philip II | 135 |
The royal chapel in the etiquettes of the viceregal court of Naples during the | 162 |
Spaces for court music | 197 |
a receptacle | 216 |
praise and attacks on the | 229 |
the royal chapel at the | 246 |
The palace royal chapel at the end of the seventeenth century | 300 |
festería brotherhoods and friendly | 328 |
Musical relations between the court and collegiate chapels in the Netherlands | 103 |
Eugeen Schreurs Fonds voor Wetenschappelijk Onderzoek Vlaanderen | 109 |
Nicolas Payen an unknown chapelmaster of Charles V and Philip II | 121 |
Bibliography | 355 |
| 387 | |
Términos y frases comunes
Alcázar Antonio Austria Barcelona bench Biblioteca Brussels Burgundian Burgundy caja Capilla Real cappella Carlos Casas Castile Castilian Cathedral Católicos celebrated ceremonies Chapelle Royale chapelmaster choir choirboys collegiate churches Cornelius Canis corte Cosimo court chapel cuerpos cultural curtain Duke ecclesiastic Emperor Escorial España etiquette example exequies feasts Felipe Felipe II Ferdinand Flemish Francisco Franco-Flemish funeral grand motet grandees Habsburg Holy important institution instrumentalists Isabella Italian José Josquin Josquin des Prez Juan king king's Madrid maestro maître manuscript maravedies mayor Medici monarch motets music chapel música española musicians musicology musique Nicolas Gombert organist palace Payen Pedro performed Philip Philip II Philip the Fair played political polyphony preachers Prebends Prince Príncipe queen Real Capilla reign religious Renaissance repertory Reyes ritual royal chapel Señor sermon siècle siglo singers sixteenth century Spain Spanish composers Spanish music sung Thomas Crecquillon tion Toledo tradition Vander Straeten