“Performing the music of Alonso Mudarra: an investigation into performance practice in the music of the vihuelistas”. Diss. (D.M.A.), University of Arizona, 1995.
Previous Next| Publication type | Year | ISBN/ISSN | Bibliog code |
|---|---|---|---|
| Book: Thesis | 1995 | hearn1995 |
Performance practices for 16th-c. Spanish vihuela music are examined, with a focus on Mudarra's «Tres libros de música en cifras para vihuela» (Seville, 1546).
Fretting evidence points to Mudarra's use of a meantone temperament in «Tres libros» and suggests the practicality of meantone tuning for this music. Meantone tuning seems also to have been used by Luis de Milán («El maestro») and Enriquez de Valderrábano («Silva de sirenas»). Stringing evidence for Mudarra contradicts the current assumption that all vihuelists used unison-strung basses; the case for some octave-stringing draws on literary evidence in Diego Pisador's «Libro de música» and Juan Bermudo's «Declaración», stringing practices on the viola da mano, Renaissance guitar, and Renaissance lute, and fingerings in Mudarra's «Tres libros» and Miguel de Fuenllana's «Orphénica lyra». The probable use of the thumb-out or thumb-under technique by each of the major vihuelistas is assessed, as are the technical and musical implications of Mudarra's and Milán's use of «dedillo». Finally, whether or not to apply the rhythmic liberties described in Tomás de Santa María's «Libro llamado arte de tañer fantasia» and ornaments presented by the 16th-c. Spanish theorists Luis Venegas de Henestrosa and Juan Bermudo to Mudarra's music is considered. (author)
Composer MUDARRA
Instrument VIHUELA
Century 16CENT
Region SPAIN
Medium
Music genre
Research field MUSIC, PERFORMANCE PRACTICE