History of Music in Spain and Latin America Compulsory subject belonging to the itinerary of both specialties. Seeks a deepening in different aspects of music history based on an articulated structure for times and monographs that allow delve into specific issues of each period. It deals with the study of musical culture in Spain and Latin America from the Middle Ages to the present, from a social and cultural perspective in terms of their influence on the repertoire and its evolution.
The dawn of polyphonic music in Spain: The Codex Las Huelgas and Ms. Madrid 204 -ANGLES, Higini. The Musical Codex Las Huelgas: Music to veus dels Segles XIII - XIV. Barcelona: Institut d'Estudis Catalans, Biblioteca de Catalunya, 1931. PALACIOS-Asensio, Juan Carlos The Codex Musical de las Huelgas Spanish Heritage. Madrid: Alpuerto, 2001: 3-35. PALACIOS-Asensio, Juan Carlos. The Codex of Madrid. XIII century polyphony. Musical Heritage Spanish. Madrid: Alpuerto, 1997 -GóMEZ-MUNTANE, M ª Carmen medieval music in Spain. Kassel, 2001: Reichenberger: 111-149 -LEECH-WILKINSON, Daniel. The modern invention of medieval music: scholarship, ideology, Performance. Cambridge: Cambridge University Press, 2004 -LÓPEZ-CALO, J. "Keys, old and new, for the transcription of music from the Codex Calixtino" The Codex Calixtino and music of his time Corunna, 2001: Fundacion Pedro Barrie de la Maza: 235-271 -McGEE, Timothy J. Medieval and Renaissance Music: a performer's guide. Toronto: University of Toronto Press, 1985.
Tomás Luis de Victoria in the fourth centenary of his death With the criterion of historical music following address contemporary perspectives, we take care of the person and the work of Tomás Luis de Victoria in the fourth centenary of his death. The quality of their music and their high representation throughout the centuries both in Spain and in Latin America and Europe also grant a high interest as an object of study http://www.uma.es/victoria/ http://www.tomasluisvictoria.es/
-Stevenson, Robert, Music in Spanish cathedrals of the Golden Age (Madrid: Alianza Editorial) 1993 (Tomás Luis de Victoria p. 403-546) -Gramer, Eugene Casjen,
Instrumental music in the eighteenth century: the keyboard sonata Party for the study of instrumental repertoire during the eighteenth century, on the gender paradigm of the keyboard sonata in Spain Reading and writing a critical comment than 1 item to choose from the following. 1-Caplin, William E., "On the Relation of Musical Topoi to Formal Function", Eighteenth-Century Music 2/1, (2005) p. 113-124. 2 - Kamien, Roger, "Style Change in the Mid-18th-Century Keyboard Sonata" JAMS vol. XIX, No. 1 (1966), pp. 37-58. 3 - Kirkpatrick, Ralph, "Domenico Scarlatti's Early Keyboard Works", MQ, XXXVII, No. 2 (1951) p. 145160. 4-Heimes, Klaus, "The Ternary Sonata Principle before 1742", Acta musicological, XIV, No. 2 (1973) p. 222-248. 5 - Pedrero-Encabo, Agueda, "The 30 excercises of Domenico Scarlatti and 30 gigs of Vicente Rodriguez: parallels and divergences", Proceedings of the Fourth Congress of the Sedem "musical Research in Spain: State of the issue and contribution" Sedem, vol. XX, No. 2 (1997) p. 373-392. 6-Ratner, Leonard, "Eighteenth-Century Theories of Musical Period Structure", The Musical Quarterly, vol. XLII, No. 4 (1956) pp. 439-454. (Translated into Spanish in Quodlibet No. 12, p. 37-51). 7-Sutcliffe, Dean, "2. Panorama. Style sources. Influence. Nationalism I. Nationalism II ", The Keyboard Sonatas of Domenico Scarlatti, Cambridge, 2003, p. 54-68. 8-Sutcliffe, Dean, "3. Heteroglossia. An open invitation to the ear: topic and genre ", The Keyboard Sonatas of Domenico Scarlatti, Cambridge, 2003, pp.78-95.
-Boyd, Malcolm, Carreras, Juan José, Music in Spain in the eighteenth century, Madrid: Cambridge UP, 2000 (trans. ed Music in Spain During the Eighteenth-Century, Cambridge: CUP. 1998) -Pedrero-Encabo, Agatha, "Introduction: state of affairs. The term Sonata ", La Keyboard Sonata. Its configuration in Spain, Grape, 1997, p. 17-31. -__________, "Stylistic features of music keyboard s early. XVIII ", The keyboard sonata, p. 33-37.
-Rosen, Charles, "Introduction," "social function" Sonata Forms, Barcelona: Labor, 1987, p. 13-28. -______________, "Ternary and binary forms," Sonata Forms, p. 29-39.
The musical creation in Spain (XIX and XX): research perspectives As part of the course, which has a historical journey through music in Spain and Latin America, it is essential to pay attention to their own repertoire of the contemporary age, characterized by a constant tension between nationalism and Europeanism. The approach proposed here affects the thematic and methodological perspectives offered new researchers when faced with this repertoire. These guidelines will assist students specific module "Research Specialty" can form a sufficiently informed on topics concerning these codes and therefore can better assess the scope and focus to guide continued his graduate studies eventually work to master and doctoral thesis.
Carredano, Consuelo and Victoria ELI (2010). History of music in Spain and Latin America. 6: Music in Latin America in the nineteenth century. Madrid: Economic Culture Fund of Spain. RODICIO Casares, Emilio and Celsa ALONSO GONZÁLEZ [eds.] (1995). The Spanish music in the nineteenth century. Oviedo: University of Oviedo. CURESES DE LA VEGA, Marta (2007). Tomás Marco: Spanish music from the avant-garde. Madrid: ICCMU. CURESES DE LA VEGA, Marta and Xosé Aviñoa (2001). "Against the lack of historical perspective: research foundations for contemporary music in Spain." Catalan Journal of Musicology, 1: 171-2000. CURESES DE LA VEGA, Marta (1996). "Research musicological around generation 51: possible studies the essential '. Journal of Musicology, XIX/1-2: 703-715. [13 pp.] 23 FRAME, Thomas (1987). History of Spanish music. June. - The twentieth century. Madrid: Alianza. MEDINA, Angel (1987). "Crisis or Spanish reafimación in music today." In Spain in Western music. Volume II. (E. Casares Rodicio, I. Fernández de la Cuesta and J. López-Calo, eds.), P. 433-442. [10 p.]
