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This book explores Juan de Anchieta's life and his music and, for
the first time, presents a critical study of the life and works of
a major Spanish composer from the time of Ferdinand and Isabel. A
key figure in musical developments in Spain in the decades around
1500, Anchieta served in the Castilian royal chapel for over thirty
years, from his appointment in 1489 as a singer in the household of
Queen Isabel, and he continued to receive a pension from her
grandson, the Emperor Charles V, until his death in 1523. He
traveled to Flanders in the service of the Catholic Monarchs'
daughter Juana, and was briefly music master to Charles himself.
Anchieta, along with Francisco de Penalosa, his contemporary in the
Aragonese chapel, and a few others, was a key figure in the rise of
elaborate written polyphony in the Spain of Josquin's time. The
book brings together two of the leading specialists in Spanish
music of the era in order to review and revise the rich
biographical material relating to Anchieta's life, and the
historiographical traditions which have dominated its telling.
After a biographical overview, the chapters focus on specific
genres of his music, sacred and secular, with suggestions as to a
possible chronology of his work based on its codicology and style,
and consideration of the contexts in which it was conceived and
performed. A final chapter summarizes his achievement and his
influence in his own time and after his death. As the first
comprehensive study of Anchieta's life and works, The Music of Juan
de Anchieta is an essential addition to the history of Spanish
music.
This book explores Juan de Anchieta's life and his music and, for
the first time, presents a critical study of the life and works of
a major Spanish composer from the time of Ferdinand and Isabel. A
key figure in musical developments in Spain in the decades around
1500, Anchieta served in the Castilian royal chapel for over thirty
years, from his appointment in 1489 as a singer in the household of
Queen Isabel, and he continued to receive a pension from her
grandson, the Emperor Charles V, until his death in 1523. He
traveled to Flanders in the service of the Catholic Monarchs'
daughter Juana, and was briefly music master to Charles himself.
Anchieta, along with Francisco de Penalosa, his contemporary in the
Aragonese chapel, and a few others, was a key figure in the rise of
elaborate written polyphony in the Spain of Josquin's time. The
book brings together two of the leading specialists in Spanish
music of the era in order to review and revise the rich
biographical material relating to Anchieta's life, and the
historiographical traditions which have dominated its telling.
After a biographical overview, the chapters focus on specific
genres of his music, sacred and secular, with suggestions as to a
possible chronology of his work based on its codicology and style,
and consideration of the contexts in which it was conceived and
performed. A final chapter summarizes his achievement and his
influence in his own time and after his death. As the first
comprehensive study of Anchieta's life and works, The Music of Juan
de Anchieta is an essential addition to the history of Spanish
music.
Analysis of Latin sacred music written during the century
illustrates the rapid and marked change in style and
sophistication. Winner of the 2007 AMS Robert M. Stevenson prize
The arrival of Francisco de Penalosa at the Aragonese court in May
1498 marks something of an epoch in the history of Spanish music:
Penalosa wrote in a mature, northern-oriented style, and his sacred
music influenced Iberian composers for generations after his death.
Kenneth Kreitner looks at the church music sung by Spaniards in the
decades before Penalosa, a repertory that has long been
ignoredbecause much of it is anonymous and because it is scattered
through manuscripts better known for something else. He identifies
sixty-seven pieces of surviving Latin sacred music that were
written in Spain between 1400 and the early 1500s, and he discusses
them source by source, revealing the rapid and dramatic change, not
only in the style and sophistication of these pieces, but in the
level of composerly self-consciousness shown in the manuscripts.
Withina generation or so at the end of the fifteenth century,
Spanish musicians created a new national music just as Ferdinand
and Isabella were creating a new nation. KENNETH KREITNER teaches
at the University of Memphis.
The Queen who shaped the music, literature, architecture, and
painting of late medieval Spain. This multidisciplinary volume was
inspired by the quincentenary of the death of Queen Isabel I of
Castile, early modern Europe's first powerful queen regnant.
Comprising work by distinguished art historians, musicologists,
historians, and literary scholars from England, Spain, and the
United States, it begins with a theoretical examination of medieval
queenship itself that argues - against the grain of the volume -
for its inseparability from kingship. Several essays examine the
complex ways in which the Queen and her advisers shaped the music,
literature, architecture, and painting of fifteenth-century Spain
and how these in turn shaped the sovereign's power and persona.
Others analyze influences on Isabel's reign from Aragon, Portugal,
and northern Europe. A third group deals with issues of
periodization, arguing from a variety of perspectives for the
modernity of Isabelline culture. The evolving construction of
Isabel's image from the mid-fifteenth to the late-twentieth century
is also studied. BARBARA WEISSBERGER is Associate Professor Emerita
of Spanish and Portuguese at the University of Minnesota. OTHER
CONTRIBUTORS:Rafael Dominguez Casas, Theresa Earenfight, Michael
Gerli, Chiyo Ishikawa, Tess Knighton, Kenneth Kreitner, Elizabeth
A. Lehfeldt, Nancy F. Marino, William D. Phillips, Jr., Emilio
Ros-Fabregas, Ronald E. Surtz
We know what, say, a Josquin mass looks like"but what did it sound
like? This is a much more complex and difficult question than it
may seem. Kenneth Kreitner has assembled twenty articles, published
between 1946 and 2009, by scholars exploring the performance of
music from the fifteenth and sixteenth centuries. The collection
includes works by David Fallows, Howard Mayer Brown, Christopher
Page, Margaret Bent, and others covering the voices-and-instruments
debate of the 1980s, the performance of sixteenth-century sacred
and secular music, the role of instrumental ensembles, and problems
of pitch standards and musica ficta. Together the papers form not
just a comprehensive introduction to the issues of renaissance
performance practice, but a compendium of clear thinking and
elegant writing about a perpetually intriguing period of music
history.
A prolific American master whose work is rooted in the tonal
tradition of nineteenth-century Romanticism, Robert Ward has had a
long, varied, and successful musical career. Ward is noted for his
keyboard and chamber music, songs and choral works, orchestral
compositions, and operas, especially his musical rendering of The
Crucible, which has become an established feature of the
contemporary operatic repertoire. In this latest volume in the
Bio-Bibliographies in Music series, Kenneth Kreitner presents a
comprehensive bibliographic guide that includes the composer's
complete works, recordings of his music, and relevant critical
literature. In the introductory biographical section, Kreitner
discusses Ward's life and career and examines the influence that
have shaped his musical style. The complete list of works is
arranged chronologically and supplies basic bibliographic data such
as information on premieres and other selected performances. A
discography offers data on commercially-produced recordings and an
annotated bibliography lists writings by and about Ward and his
music. The different sections are fully cross-referenced, and
several indexes are provided. An important tool for scholars
engaged in research on contemporary classical music, this volume
will also be of interest to reference librarians and performing
organizations.
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