Remeš, Kamil.

The Romance form in the collections of Spanish vihuelists (contemporary treatment of the romance melody Conde Claros)

SUMMARY

Just the period of 40 years was enough for the Spanish composers (vihuelists) to manage to utilize the form of romance fundamentally and upgrade it to a new form of artistic expression. The original medieval literary sources arising in the context of juglarescos and transmitted by oral tradition were gradually fixed in written sources. Later, in the 15th and 16th centuries, were seized in new ways which reflected the contemporary taste for polyphonic music. Collections Cancioneros are just one part of the contemporary work with historical material that had more forms of representation. Already the fact that originally the "popular" literary culture, transmitted orally, was during the 15th and 16th centuries raised to a cultured middleclass and courtly matter is very interesting. This could be due to a sort of general uniting the society during the reconquista was escalating. The popularity of polyphonic music brought the Spanish song into a new, intellectual and courtly environment and during the Spanish Siglo de Oro a significant cultural phenomenon arises. An equally important moment in the context of the history of the Iberian Peninsula is the emergence of vihuela as a purely specific local instrument.

Spanish song with the accompaniment of vihuela is one part of the thesis. Based on sources we tried to map out some trends that were included in the work. Furthermore, the problems of vihuela intabulation are mentioned here. The thesis also deals with intrumental vihuela variations, which were very popular at that time. The tune of Conde Claros became the inspiration for a large number of not only Spanish, but also other foreign composers. So far we have known instrumental processing by 4 vihuelists, while Valderrábano worked out the topic of Conde Claros even three times. In this work we dealt with the comparison of these diferencias by comparing the 4 specific compositional techniques, which we find in the diferencias. Based on our discoveries, over 40 years of the development into the vihuela creation, the diferencias were transformed from serial passage virtuoso and chord variations in the large, largely polyphonic songs. The uniqueness of the Spanish vihuela works is a low number of extant sources that might help us clearly identify and define developmental stylistic tendencies, etc. Absence of more frequent amount of comparative material does not therefore allow us to sufficiently generalize some of the processes that appeared in development of vihuelas and works for this instrument. More than general trends we can observe the individual contribution of specific composers who can act as inconsistent group. Over less than a hundred years (approximately from 1530 to 1580), in the times when vihuela dominated in Spanish chamber music, there remains only little but valuable testimony of the past.

Composer MUDARRA, VALDERRABANO, PISADOR

Instrument VIHUELA

Century 16CENT

Region SPAIN

Medium

Music genre VARIATIONS

Research field MUSIC, ANALYSIS