Bruno M. Damiani

La lozana andaluza

[Nota preliminar: presentamos una edicion modernizada de La lozana andaluza de Francisco Delicado, Venecia, 1528, (edicion facsimil de Antonio Perez Gomez, Valencia, Tipografia Moderna 1950), basandonos en la edicion de Bruno M. Damiani (Delicado, Francisco La lozana andaluza, Madrid, Castalia, 1984), cuya consulta recomendamos. Con el objetivo de facilitar la lectura del texto al publico no especializado se opta por ofrecer una edicion modernizada y eliminar las marcas de editor, asumiendo, cuando lo creemos oportuno, las correcciones, reconstrucciones y enmiendas propuestas por Damiani.]

Music in "La Diana" of Jorge de Montemayor

W HILE buttressing their fondness for music with the authority of the ancients, Renaissance humanists explored new ways of elevating and exalting the word with the sound of music. With the sixteenth century, Spain, in particular, enters into its Golden Age of music and musical instruments, which declines in the following century as painting takes up the scepter of the arts. The Renaissance experiences the most glorious stages of Spanish music with such figures as Francisco Salinas, Antonio de Cabez6n, and the great polyphonists of the Sevilian and Castilian schools, Cristbbal Morales, Francisco Guerrero, and Tomas Luis de Victoria. One author who partook fully in the musical excitement of the time was Jorge de Montemayor, best known for his pastoral novel, Los siete libros de la Diana (Valencia, 1559). Living in a period called the most brilliant epoch in the history of European music, Jorge de Montemayor left his native Portugal and went to Spain to become a chapel singer, first in the court of Charles V, and then in that of Philip II. In the service of Philip II, notable patron of Spanish music, Montemayor was able to cultivate his voice and expand his knowledge of instruments to the point that he came to be held in singular esteem by the royal family, no small accomplishment for a foreigner in a choir made up exclusively of Spaniards, with the exception of the French composer Philippe de Monte who temporarily joined the choir between 1554-1555. Like the great musicians and singers of the court of Philip II, Montemayor had travelled extensively to many parts of Europe including Naples, the residence of the Spanish viceroys. These journeys represented an unquestionably fecund source of information on musical techniques and styles. Let us be

CONMEMORACIÓN E INTERCESIÓN EN LA GALATEA DE CERVANTES: LIBRO VI

This paper examines the moral didactic framework of the sacred Valley of Cypresses, as described in Cervantes’ sixth book, La Galatea. A scrupulous analysis of the form, style and content of this episode reveals the hermeneutic significance of one of the most inspiring episodes of pastoral literature.

Pirro Ligorio: The Renaissance Artist, Architect, and Antiquarian (review)

We are now far more inclined than our predecessors to view history “from the bottom up,” and this collection, which does not pretend to be a history in the ordinary sense, is a very good example. The editors have a bit of a struggle to maintain coherence in what is not really a coherent story. The early Protestants were a tiny minority, but what revolutionary group has not been? They were accompanied from the very beginning by a much larger number of fellow travelers who sympathized with some part of their position,and these included men in powerful positions whose motivation was not always above suspicion. One very important thing emerges from this scholarly and well presented volume:the idea that the late medieval church was a robust and healthy institution challenged only by the political self-interest of the Tudors, is a myth, like all the other myths which have been generated by this seminal and still controversial period.