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  • THE ACADEMIA MUSICAL OF PABLO MINGUET Y YROL:

    A TRANSLATION AND COMMENTARY

    THESIS

    Presented to the Graduate Council of the

    North Texas State University in Partial

    Fulfillment of the Requirements

    For the Degree of

    MASTER OF ARTS

    By

    Christopher T. O'Dania, B.A.

    Denton, Texas

    December, 1984

    377 Ivel

  • 0'Dania, Christopher T. , The Academia Musical of Pablo Minguet y

    Yrol: A Translation and Commen Master of Arts (Music/Flute

    Performance), December 1984, 156 pp., 25 illustrations, 2 appendixes,

    bibliography, 47 titles.

    Pablo Minguet y frol's Academia Musical of 1752, M891 in the

    Biblioteca Nacional of Madrid, is a loosely organized collection of

    tutors for thirteen musical instruments: guitar, tiple, mandola,

    cittern, bandurria, psaltery, clavichord [i.e., keyboard], organ,

    harp, violin, transverse flute, recorder, and flageolet. The tutors

    concerning the guitar and related instruments are by far the most

    comprehensive; topics covered include basic playing technique,

    figured-bass accompaniment, and notation, both mensural and tablature.

    Most musical examples are given in both types of notation.

    The thesis is a complete translation of the Academia Musical,

    including the texts of the illustrations, with an introductory

    commentary giving the historical background of music education in

    eighteenth-century Spain, a brief review of European musical-instrument

    tutors in general, and an analysis of Minguet's tutors in particular.

    ^

  • THE ACADEMIA MUSICAL OF PABLO MINGUET Y YROL:

    A TRANSLATION AND COMMENTARY

    THESIS

    Presented to the Graduate Council of the

    North Texas State University in Partial

    Fulfillment of the Requirements

    For the Degree of

    MASTER OF ARTS

    By

    Christopher T. O'Dania, B.A.

    Denton, Texas

    December, 1984

    377 Ivel

  • Copyright 1984

    by

    Christopher T. O'Dania

  • CONTENTS

    INTRODUCTION.....t....... . . . . . . . . . .. . - - .9 -

    LIST OF ILLUSTRATIONS. . . . .......... . ...........

    Chapter

    I. HISTORICAL INTRODUCTION . . . . . . . . . .

    A Brief Review of European Instrumental Tutors .

    II. COMMENTARY ON THE ACADEMIA MUSICAL . . . . ..

    III. A TRANSLATION OF MINGUET'S ACADEMIA MUSICAL..v

    . . . . 1

    . . 0 . 5

    9

    22

    22 22 27 31 32 35 35

    59

    Preface. .. *.........................*....*..o.s. Index and Explanation of the Entire Work. Letters of Approbation. ... . . . ..... List of Errata. . . . . . . . . . . . . .. Prologue to the Amateur Reader. . . . . . . .

    Rules and Advice for Playing the Guitar. . . . ..

    Concerning the Guitar and Tiple . . . . . . Rules and Advice for easily learning

    to pluck the guitar by music and by tablature.......... . .. ......

    Explanation of the Tenth Illustration in which are Don Santiago de Murcia's scales for playing continuo Facompanar la partel on the guitar. .........

    Advertisement . . . . . . . . . . . . . . Explanation of the Chords of the Guitar

    in Castilian, Italian, and Catalonian Style . . . . . . . . . ....

    Explanation of the Guitar that is Drawn in the Seventh Illustration. . . . . ...

    Rules and Advice for Playing Continuo. . . . . .. . Rules for Playing Continuo. . . . . . . . . .. Explanation of the Clavichord [i.e.,

    Harpsichord] and Organ . .. .. .... . Explanation of the New Style of Harp

    with Two Courses . . . .. . . . . . . .. Explanation of the Cittern with Whole

    [i.e., Diatonic] Frets . . . . . . . .*..

    67 71

    73

    75 76 76

    94

    95

    97

    iv

    Page vi

    vii

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  • Page General Rule in Order That the Amateur

    in Music May Know How to Put in the Sharps and Flats Which Correspond to the Nature of the Twelve Natural and Accidental Pitches. 0 000*00 . . . . 98

    Another Rule About the Usual Tempos of Music for the Guidance of the Accompanist, Explaining about them When it is Necessary to Give Full Strokes (According to the Time it is) or to Give the Bass Only, With- out Vocal Accompaniment. Taken from the Works of Santiago de Murcia, Who Was the Guitar Teacher of the Queen, Our Lady Dofla Marla Luisa Gabriela de Saboya (May God go [With HerJ) . 0.0 .0 0 0 *0 0 .. .... .102

    Rules and Advice for Playing the Psaltery0 . . . . . . .0105 Rules for Playing the Psaltery. . . . .. 0 .. 105

    Rules and Advice for Playing the Bandurria . . . . . 120 Rules for Playing the Bandurria . . .*. . 0 . . .120 Advertisement 0 o..* . o . o o. o.... ... ...128

    Rules and Advice for Playing the Violin. . 0 . o .. 130 Rules for Playing the Violin. 0 . . 0 o .0 .a ..0. 130 Advertisement. . 0 0 0.0 . ..* 0 . .0 0 0 a..0. ..0 138

    Rules and Advice for Playing the Flute .o. ... . 0 l.&9142 Explanation of the Transverse Flute 00 0.00.0 0.0 a. 142 Explanation of the Recorder. . . . .. . . . . .0. .&144 Explanation of the Flageolet . . 00.. 0. . . . .0 144

    APPENDIXES

    A. NOTE ABOUT THE TENTH ILLUSTRATION. .0. &. . . . . . . 147

    B. GLOSSARY o. 0 .. .0 o. . .. . .. 0 0 0 0 0.. 150

    BIBLIOGRAPHY. . . . . . .0. 0 .. .a.0.000.0. .. . . .&.0.0...153

    v

  • LIST OF ILLUSTRATIONS

    1. Frontispiece 0 * 0

    2.

    3.

    4o

    5.

    6.

    7.

    8.

    9.

    10.

    11.

    120

    13.

    14.

    15.

    16.

    17.

    18.

    19.

    20.

    210

    0 . 0 . 0 0 0 0 . 0 - - * - - 0 -*

    "El Amable". 0 0 . 0 . 0 . 0 . o 0 0 0 0 0 0 .o .

    Sanz' Table Modified o.0 *o *.o *.o .0*0. o . *

    Guitar Chords. 0 .a*0.4 0.9 0.# 0.0 0.9 a.a 0.0 0.

    Dances in Alfabeto 0 . .. . . & o . . * * * o * *

    Rudiments of Music, Part 1 000 *0 0.0 0 .0 .

    Scale of Gsolreut - Guitar 0 . *0.# 0.0 . .0.*. .I

    Dances in Mensural Notation. *...* ..a. 0 .*.0.

    Dances in Tablature................... ...

    Santiago de Murcia's Scales0 . 00 *0.0 #.0. .a .

    Rudiments of Music, Part 2 0 . * .0*.0. .0 * .

    Examples of the Rules for Playing Continuo . .

    Example of the last Rules for Playing Continuo .

    Demonstration and Gamut of the Clavichord, Organ, and Cittern....s. ........ . . ...

    Gamut of the Guitar. . . . . . . 0 .0

    Demonstration of the Twelve Pitches. 0. . 0 0

    Labyrinth of Labyrinths. o. 0.0. 0 .0. # 0. . .000

    Rule for Transposing . 0. 0 . . 0 0.0..o 0 .

    Minguet's Harmonic Circles . 0. 0 0. o. 0 00

    Demonstration of the Psaltery. 0 . 0 0

    Dances for the Psaltery. . .*a .0 .0 0 0 ... .0.

    . - . . 0 -0

    .0

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    Page 19

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  • Page 22. Scales of the Bandurria . . . . . . *o-# o - -- - - - 131

    23. Scale of the Violin .#o*. . . . . o... ...... ..... 140

    24. Demonstration of the Scales for the Violin. o . . . , .0 0 4

    25. Scale of the Transverse Flute...o....-......................146

    vii

  • INTRODUCTION

    Minguet 's Academia Musical contains verbatim borrowings from

    other sources, Minguet's own words, and his adaptions of his sources'

    words. As a result, the writing style shifts continuously: from

    active voice to passive voice, from third person to second person,

    from sentence to fragment, and so forth. For the sake of consistency

    and fluency, the English version is rendered in the active voice,

    second person, except where the subject of the sentence clearly requires

    the use of the third person ("the reader," etc.). The fragments have

    been made sentences, the cumbersome sentences divided, and the

    scrambled sentences reordered. Words added for clarity are enclosed

    in square brackets.

    viii

  • Chapter I

    HISTORICAL INTRODUCTION

    Spain was at war during all of the seventeenth century. Internal

    conflicts among its various regions, coupled with constant struggles

    both to guard its European possessions and to maintain control of its

    American empire, left it little energy or time for social, educational,

    or artistic achievements. For these reasons, Spain was, as many his-

    torians have expressed it, two centuries behin