Hearing Faith: Music as Theology in the Spanish Empire
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An exploration into the ways Catholics in the Spanish Empire used devotional music (villancicos) to connect faith and hearing. By interpreting examples of “music about music” in the context of theological literature, it reveals how Spanish subjects listened and why. Contents Acknowledgments Illustrations and Tables Part 1. Listening for Faith Chapter 1. Villancicos as Musical Theology 1. Singing about Singing 2. Paying Attention to Villancicos 3. Music about Music in the Villancico Genre 3.1. Imitative References to Music: Birdsong, Instruments, Songs and Dances 3.1.1. Becoming Clarions 3.1.2. Dance and Difference 3.1.3. Villancicos about Villancicos 3.2. Abstract References to Music as Concept or Symbol 3.2.1. Solmization Puns and Theology of Voice Alone 3.2.2. Music Itself as a Conceit 3.2.3. Pointing to a Higher Music: Heavenly and Angelic Music 4. Theological Listening in the Neoplatonic Tradition 4.1. Hearing the Book of Nature Read Aloud 4.2. Voice as Expression of Man, the Microcosm Chapter 2. Making Faith Appeal to Hearing 1. “The Sense Most Easily Deceived” 2. Well-Tempered Hearing 2.1. Irízar: Battle of the Senses 2.2. Carríon: Internal Conflict 2.3. Sensory Confusion 2.4. The Triumph of Hearing 3. Accommodating and Training the Ear 3.1. Experiencing Spiritual Truth through Music 3.2. Cultural Impediments to Hearing 4. Impaired Hearers, Incompetent Teachers: “Villancicos of the Deaf” 4.1. Laughing at the Deaf (Gutiérrez de Padilla, Puebla Cathedral) 4.2. Learning from the Deaf (Ruiz, Madrid Royal Chapel) 5. Failures of Faithful Hearing 5.1. “Make a Hedge around Your Ears” Part 2. Listening for Unhearable Music Chapter 3. Christ as Singer and Song (Puebla, 1657) 1. “Voices of the Chapel Choir” and the “Unspeaking Word” 2. Music about Music in the Voices of Puebla’s Chapel Choir 2.1. Projecting the Words 2.2. Depicting the Words 2.3. Expression and Madrigal Style 3. Devotion to Christ as Singer and Song 4. Establishing a Pedigree in a Lineage of Metamusical Composition 5. “All Who Heard It Were Amazed” Chapter 4. Heavenly Dissonance (Montserrat, 1660s) 1. Cererols and the Boys’ School Choir of Montserrat 2. The “New Consonance” 3. Worldly and Heavenly Music 3.1. Listening for the World Beyond 3.2. Dissonant Planets 4. Genealogies of Heavenly Music 5. The Problem of Perfection Chapter 5. Offering and Imitation (Zaragoza, 1650–1700) 1. “Let Voices Ascend to Heaven”: From Bruna to Ambiela 1.1. Bruna: Voices as Flames of Self-Offering 1.2. Ambiela: Voices Rising in Intercession 1.2.1. Outdoing and Overdoing 1.3. Offering Hearts and Voices through Music 2. Christ as a Vihuela (Cáseda) 2.1. Christ as a Musical Instrument 2.1.1. Vihuela and Cithara 2.2. Representing the Vihuela, Representing Christ 2.3. False Music 3. Conclusions Bibliography Index
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