Rodrigo de ceballos-s magnificat cycle on the eight tones: a description and comparison with similar cycles by cristobal de morales and francisco guerrero Report as inadecuate




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Cuadernos de Música, Artes Visuales y Artes Escénicas 2006, 2 1

Author: Marcela García

Source: http://www.redalyc.org/articulo.oa?id=297023496002


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Cuadernos de Música, Artes Visuales y Artes Escénicas ISSN: 1794-6670 revistascientificasjaveriana@gmail.com Pontificia Universidad Javeriana Colombia García, Marcela RODRIGO DE CEBALLOSS MAGNIFICAT CYCLE ON THE EIGHT TONES: A DESCRIPTION AND COMPARISON WITH SIMILAR CYCLES BY CRISTOBAL DE MORALES AND FRANCISCO GUERRERO Cuadernos de Música, Artes Visuales y Artes Escénicas, vol.
2, núm.
1, octubre-marzo, 2006, pp.
2152 Pontificia Universidad Javeriana Bogotá, Colombia Available in: http:--www.redalyc.org-articulo.oa?id=297023496002 How to cite Complete issue More information about this article Journals homepage in redalyc.org Scientific Information System Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Non-profit academic project, developed under the open access initiative 21 Marcela García∗ RODRIGO DE CEBALLOS’S MAGNIFICAT CYCLE ON THE EIGHT TONES: A DESCRIPTION AND COMPARISON WITH SIMILAR CYCLES BY CRISTOBAL DE MORALES AND FRANCISCO GUERRERO Abstract Until recently the music of Rodrigo de Ceballos (ca.
1525-30–1581) had been largely ignored by musicologists under the assumption that most of it was lost or preserved in deteriorated manuscripts.
Research by the musicologist Robert Snow proved this assumption wrong and placed the composer among important figures of Spanish music during the sixteenth century.
Ceballos’s style is influenced by the music of two major Spanish composers of the sixteenth century, Cristóbal de Morales (1500–1553) and Francisco Guerrero (1528–1599). Morales, Guerrero, and Ceballos wrote polyphonic settings of the odd– verses of the Magnificat text on the eight tones, to be sung alternatim with the even–numbered verses at Vespers.
Ceballos’s Magnificat Cycle was sung for several centuries at the cathedral in Bogotá, Colombia, and the manuscripts extant there constitute the only surviving source for the setting. The settings by the three composers present simmilariti...





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