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Cloister, court and city: Musical a...

Hathaway, Janet.

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Cloister, court and city: Musical activity of the Monasterio de las Descalzas Reales (Madrid), ca. 1620--1700 (Spain).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Cloister, court and city: Musical activity of the Monasterio de las Descalzas Reales (Madrid), ca. 1620--1700 (Spain)./
Author:	Hathaway, Janet.
Description:	319 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4392.
Contained By:	Dissertation Abstracts International65-12A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3157827
ISBN:	0496902679

Cloister, court and city: Musical activity of the Monasterio de las Descalzas Reales (Madrid), ca. 1620--1700 (Spain).
Hathaway, Janet.

Cloister, court and city: Musical activity of the Monasterio de las Descalzas Reales (Madrid), ca. 1620--1700 (Spain). - 319 p.

Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4392.

Thesis (Ph.D.)--New York University, 2005.

This dissertation explores the scope and impact of musical activity of the royal convent of Las Descalzas Reales during the reigns of Felipe IV and Carlos II (ca. 1620--1700). This privileged female convent represented a departure from the norm: as a royal institution adhering to the austere First Rule of St. Clare, Las Descalzas was provided with a professional male musical chapel, while at the same time the nuns' musical activity was strictly regulated. Until this point, scholarly attention has focused principally on the repertory produced by prominent composers associated with the convent (Tomas Luis de Victoria, most notably): my intent has been to reveal how this elite institution served its royal patrons and nuns and contributed to the urban life of the courtly city of Madrid, thereby placing the institution in its proper context and revealing its significance to the culture of Hapsburg Madrid. Chapter One comprises a background of the institution, introducing the Hapsburg founder and royal nuns, the ideological and spiritual aims of the convent, and the presence of the royal musical chapel and its implications for musical life of the convent. Chapter Two presents data on the chapel and the musicians who staffed it. Music in the convent itself is examined in Chapter Three. Issues regarding the nuns' musical voice and spirituality form the basis of this discussion; chronicles and profession villancicos provide enlightening textual evidence. Chapters Four and Five each consider the chapel as it served two distinct, but increasingly related, parties: the Crown and the citizens of Madrid. Contemporary documents describe specific events in which the chaplain-singers participated; these records broaden our understanding of music's place in devotional ceremonies---especially those celebrated by elite groups---in 17th-century Madrid.

ISBN: 0496902679Subjects--Topical Terms:

516178
Music.

Cloister, court and city: Musical activity of the Monasterio de las Descalzas Reales (Madrid), ca. 1620--1700 (Spain).
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245 1 0 $a Cloister, court and city: Musical activity of the Monasterio de las Descalzas Reales (Madrid), ca. 1620--1700 (Spain).
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500 $a Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4392.
500 $a Adviser: Stanley Boorman.
502 $a Thesis (Ph.D.)--New York University, 2005.
520 $a This dissertation explores the scope and impact of musical activity of the royal convent of Las Descalzas Reales during the reigns of Felipe IV and Carlos II (ca. 1620--1700). This privileged female convent represented a departure from the norm: as a royal institution adhering to the austere First Rule of St. Clare, Las Descalzas was provided with a professional male musical chapel, while at the same time the nuns' musical activity was strictly regulated. Until this point, scholarly attention has focused principally on the repertory produced by prominent composers associated with the convent (Tomas Luis de Victoria, most notably): my intent has been to reveal how this elite institution served its royal patrons and nuns and contributed to the urban life of the courtly city of Madrid, thereby placing the institution in its proper context and revealing its significance to the culture of Hapsburg Madrid. Chapter One comprises a background of the institution, introducing the Hapsburg founder and royal nuns, the ideological and spiritual aims of the convent, and the presence of the royal musical chapel and its implications for musical life of the convent. Chapter Two presents data on the chapel and the musicians who staffed it. Music in the convent itself is examined in Chapter Three. Issues regarding the nuns' musical voice and spirituality form the basis of this discussion; chronicles and profession villancicos provide enlightening textual evidence. Chapters Four and Five each consider the chapel as it served two distinct, but increasingly related, parties: the Crown and the citizens of Madrid. Contemporary documents describe specific events in which the chaplain-singers participated; these records broaden our understanding of music's place in devotional ceremonies---especially those celebrated by elite groups---in 17th-century Madrid.
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