Music And Power In Early Modern Spain

This book explores the representation of music in early modern Spanish literature and reveals how music was understood within the framework of the Harmony of the Spheres, emanating from cosmic harmony as directed by the creator. The Harmony of Spheres was not ideologically neutral but rather tied to the earthly power structures of the Church, Crown, and nobility. Music could be "true," taking the listener closer to the divine, or "false," leading the listener astray. As such, music was increasingly seen as a potent weapon to be wielded in service of earthly centers of power, which can be observed in works such as vihuela songbooks, the colonial chronicle of the Inca Garcilaso de la Vega, and in the palace theater of Pedro Calderón de la Barca. While music could be a powerful metaphor mapping onto ideological currents of imperial Spain, this volume shows that it also became a contested site where diverse stakeholders challenged the Harmonic Spheres of Influence. Music and Power in Early Modern Spain is a useful tool for upper-level undergraduates, postgraduates, and scholars interested in musicology, music history, Spanish literature, cultural studies, and transatlantic studies in the early modern period.

As Spain encountered economic and political crises in the seventeenth century, the imagery of musical performance was invoked by the state to represent the power of the monarch and to denote harmony throughout the kingdom. Based on contemporary sources, Gonzalez is able to unravel the complex iconography of Spanish politics.

Roots of Empire is the first monograph to connect forest management and state-building in the early modern Spanish global monarchy. The Spanish crown's control over valuable sources of shipbuilding timber in Spain, Latin America, and the Philippines was critical for developing and sustaining its maritime empire. This book examines Spain's forest management policies from the sixteenth century through the middle of the eighteenth century, connecting the global imperial level with local lived experiences in forest communities impacted by this manifestation of expanded state power. As home to the early modern world's most extensive forestry bureaucracy, Spain met serious political, technological, and financial limitations while still managing to address most of its timber needs without upending the social balance.

A King Travels examines the scripting and performance of festivals in Spain between 1327 and 1620, offering an unprecedented look at the different types of festivals that were held in Iberia during this crucial period of European history. Bridging the gap between the medieval and early modern eras, Teofilo Ruiz focuses on the travels and festivities of Philip II, exploring the complex relationship between power and ceremony, and offering a vibrant portrait of Spain's cultural and political life. Ruiz covers a range of festival categories: carnival, royal entries, tournaments, calendrical and noncalendrical celebrations, autos de fe, and Corpus Christi processions. He probes the ritual meanings of these events, paying special attention to the use of colors and symbols, and to the power relations articulated through these festive displays. Ruiz argues that the fluid and at times subversive character of medieval festivals gave way to highly formalized and hierarchical events reflecting a broader shift in how power was articulated in late medieval and early modern Spain. Yet Ruiz contends that these festivals, while they sought to buttress authority and instruct different social orders about hierarchies of power, also served as sites of contestation, dialogue, and resistance. A King Travels sheds new light on Iberian festive traditions and their unique role in the centralizing state in early modern Castile.

Unlike empresses in Germany and queens in England and France, the lives and political careers of most Iberian queens remain largely unknown to non-specialists. In this collection, Theresa Earenfight brings together new research on medieval and early modern Spanish queens that highlights the distinctive political culture that resulted in forms of queenship similar to, yet also substantially different from, that of northern Europe. The essays consider three aspects of queenship and politics: the institutional foundations and practice of politics, the politics of religion and religious devotion, and the literary and artistic representations of queenship and power. Late medieval queens, because they often occupied prominent and powerful offices such as the regency in Castile and Portugal and the Lieutenancy in the Crown of Aragon, exemplify a unique form of queenship that can best be described as a political partnership. Habsburg queens and empresses, often excluded from such official political roles, were less publicly visible but their power as partner to the king, although shrouded, remains potent. Their political careers were the result of two forces: first, military circumstances brought about by territorial expansion, conquest, and second, a political culture that did not explicitly prohibit queens from active participation in the governance of the realm. The essays in this collection-by both newer and well established scholars-demonstrate the range and depth of current research on Iberian queenship, and prompt a re-examination of long-held assumptions about women and the exercise of power in pre-modern Spain.

Using a wide array of archival documentation, including Inquisition records, wills, dowry contracts, folklore, and court cases, Poska examines how early modern Spanish peasant women asserted and perceived their authority within the family and community and how the large numbers of female-headed households in the region functioned in the absence of men.

This book presents the first study of music in convent life in a single Hispanic city, Barcelona, during the early modern era. Exploring how convents were involved in the musical networks operating in sixteenth-century Barcelona, it challenges the invisibility of women in music history and reveals the intrinsic role played by nuns and lay women in the city’s urban musical culture. Drawing on a wide range of archival sources, this innovative study offers a cross-disciplinary approach that not only reveals details of the rich musical life in Barcelona’s nunneries, but shows how they took part in wider national and transnational networks of musical distribution, including religious, commercial, and social dimensions of music. The connections of Barcelona convents to networks for the dissemination of music in and outside the city provide a rich example of the close relationship between musical networks, urban society, and popular culture. Addressing how music was understood as a marker of identity, prestige, and social status and, above all, as a conduit between earth and heaven, this book provides new insights into how women shaped musical traditions in the urban context. It is essential reading for scholars of early modern history, musicology, history of religion, and gender studies, as well as all those with an interest in urban history and the city of Barcelona. The book is supported by additional digital appendices, which include: Records of inquiries into the lineage of Santa Maria de Jonqueres nuns Development of the collections of choir books belonging to the convents of Santa Maria de Jonqueres and Sant Antoni i Santa Clara

The fourteen essays that comprise this volume concentrate on festival iconography, the visual and written languages, including ephemeral and permanent structures, costume, dramatic performance, inscriptions and published festival books that ’voiced’ the social, political and cultural messages incorporated in processional entries in the countries of early modern Europe. The volume also includes a transcript of the newly-discovered Register of Lionardo di Zanobi Bartholini, a Florentine merchant, which sets out in detail the expenses for each worker for the possesso (or Entry) of Pope Leo X to Rome in April 1513.