RT info:eu-repo/semantics/doctoralThesis
T1 Tempus in Templum. Contextos aurales en los espacios sagrados cristianos de la Hispania altomedieval (527-1080). Una plasmación perceptiva
A1 González Gomis, José Benjamín
A2 Universidad de Valladolid. Escuela de Doctorado
K1 Liturgia
K1 Building Acoustics
K1 Acústica arquitectónica
K1 Hispanic Liturgy
K1 Liturgia Hispana
K1 Liturgic Chant
K1 Canto litúrgico
K1 Aurality
K1 Auralidad
K1 6203.06 Música, Musicología
AB This Thesis is framed between the 5th and 11th centuries, when the rise, splendour and suppression of the Hispanic liturgy took place, with the aim of studying the musical and sound expressions linked to this ancient liturgy in the aural context in which they came to life and were produced and performed, constituting a whole due to the interdependence between sound source and acoustic space.Sound (time in space, tempus in templum) has been taken as the centre of irradiation. It has been approached in a transdisciplinary way, deriving two concentric circles of significant contextualisation analysed with the help of academic branches adjacent to Musicology, such as History, Liturgy, Architecture, Anthropology of the Senses and Archaeology, to understand the manifestation of Hispanic chant and its interpretative spaces as a multidisciplinary cultural heritage.A mixed methodology was followed. The first methodological block was based on qualitative procedures, taking as a starting point the study and analysis of textual, liturgical, musical, literary, and architectural sources. The second block has operated with fieldwork designed based on the ISO 3382-1 standard for Acoustics of enclosures. The results have been quantified and analysed, both from a normative point of view and in a segmented way to achieve the specific objectives.Based on the sacred silence, two groups of participants have been found to break this silence in the communicative practice of Hispanic chant: orators and auditors. Roles assumed in a changing way by different aural subcultures within the ordo clericorum (ministers and choir) and ordo laicorum (populus and monarchy), which shared temporal structures of participation (Liturgical Year, Mass, and Offices), but not spaces, given that the sacred precincts were compartmentalised, nor modes of significant listening. The zoning of each subculture has been traced through the detailed analysis of the acoustic characterisation of eight early medieval sacred precincts. A site-specific measurement was designed for each site, considering the criteria of use and liturgical participation in both additive and subtractive architecture. The importance of auditory perception in the generation of religious knowledge and experience has been emphasised and the axes of oral-aural communication between the participants in the Hispanic liturgy have been numerically defined. Finally, a sonic analysis of two sound sources, the male voice singing Hispanic repertoire and the Abbot Samson's bell (9th century), has been carried out.
YR 2024
FD 2024
LK https://uvadoc.uva.es/handle/10324/69486
UL https://uvadoc.uva.es/handle/10324/69486
LA spa
NO Escuela de Doctorado
DS UVaDOC
RD 09-nov-2024