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<dc:title>Making Musical Works in Renaissance Spain</dc:title>
<dc:creator>Aguirre Rincón, María Soterraña</dc:creator>
<dc:creator>Griffiths, John</dc:creator>
<dc:creator>Gutiérrez Cajaraville, Carlos</dc:creator>
<dc:creator>López Suero, Ana</dc:creator>
<dc:creator>Fiorentino, Giuseppe</dc:creator>
<dc:creator>Ramos López, Pilar</dc:creator>
<dc:creator>Gómez del Sol, Manuel</dc:creator>
<dc:creator>García Pérez, Amaya Sara</dc:creator>
<dc:creator>Andrés Fernández, David</dc:creator>
<dc:creator>Cruz Rodríguez, Javier</dc:creator>
<dc:creator>Ruiz Albi, Irene</dc:creator>
<dc:contributor>Aguirre Rincón, María Soterraña</dc:contributor>
<dc:contributor>Griffiths, John</dc:contributor>
<dc:subject>Musicología</dc:subject>
<dc:description>Producción Científica</dc:description>
<dc:description>Why is it that Renaissance musicians (in Spain in this case) could identify&#xd;
as the same work compositions that today might be seen as different?&#xd;
Wherein was the commonality? Current ontologies of music, deeply&#xd;
rooted in modern theories and aesthetics revolve around the notion of&#xd;
musical masterpieces that exist as static monuments of musical art. Not&#xd;
only inadequate from a historical point of view, such a conceptualisation&#xd;
impacts heavily on the way we perform music, how we study it and how&#xd;
we think about it today.&#xd;
Scholars such as Treitler and Strohm have proposed substituting composition&#xd;
over practice to highlight the act of performance over prior creation&#xd;
as a way of shifting the focus in the development of contemporary historiography.&#xd;
In parallel with recent studies on contrapuntal improvisation&#xd;
they have stressed the need to incorporate oral traditions within music&#xd;
history and to stimulate reconsideration conceptualisation of “making&#xd;
musical works” in the Renaissance, and the very nature of the works themselves.&#xd;
Starting with the notion of the Renaissance “musical work” as a group of&#xd;
fluid, dynamic multiplicities, this book explores varied approaches to the&#xd;
“musical work.” It includes lexicological analyses of Renaissance musical&#xd;
terminology, source studies that identify the changing practices and identities&#xd;
of specific works, and broader questions such as interrelationships&#xd;
between music, architecture and rhetoric, o between space and work. The&#xd;
book is further enriched by a study of the 15,000 musical works that resided&#xd;
in the library of Ferdinand Columbus, that survive as indices, never&#xd;
studied or published.</dc:description>
<dc:date>2020-03-08T13:56:20Z</dc:date>
<dc:date>2020-03-08T13:56:20Z</dc:date>
<dc:date>2020</dc:date>
<dc:type>info:eu-repo/semantics/book</dc:type>
<dc:identifier>http://uvadoc.uva.es/handle/10324/40582</dc:identifier>
<dc:language>spa</dc:language>
<dc:rights>info:eu-repo/semantics/openAccess</dc:rights>
<dc:rights>http://creativecommons.org/publicdomain/zero/1.0/</dc:rights>
<dc:rights>CC0 1.0 Universal</dc:rights>
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