![Santiago Ruiz Torres](https://cdn.statically.io/img/0.academia-photos.com/5468924/2400858/46489048/s200_santiago.ruiz_torres.jpg)
Santiago Ruiz Torres
Santiago Ruiz Torres holds a PhD in musicology by the Complutense University of Madrid, as well as the degrees in Piano and Choral conducting. Between 1999 and 2007 he has been music teacher at the Escolanía del Valle de los Caídos, one of Spain’s most prestigious children’s Gregorian chant choirs. Until May 2011 he has been research grant holder by the Spanish Ministry of Education (University Professor Training Programme). In May 2013 he completed his doctoral Thesis, titled “Liturgical monophony between the 15th and the 19th century. Tradition, transmission and musical performance through the study of the choirbooks of the Segovia Cathedral”. At the moment, he is Lecturer at the Faculty of Geography and History (University of Salamanca), where he teaches in the field of musicology.His main line of research is Iberian plainchant from the 12th to the 19th centuries.
Address: Guadarrama, Madrid, Spain
Address: Guadarrama, Madrid, Spain
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of the 11th cent. This had two short-term effects on the liturgy of the saints. On the one hand, it promoted the introduction of many French saints’ cults derived from the use of manuscripts which served as models for the configuration of the Romanum officium. On the other hand, it caused a severe setback in the cult of the Iberian saints as the great majority of them were lacking proper formularies in the newly imported
books. The process of romanization of the saints in medieval Iberia is still little understood, despite its great significance for the study of the liturgy at that time. This essay aims to shed light on this lacuna, taking the Benedictine monastery of San Juan de la Peña as a reference point. Fortunately, some extant liturgical witnesses to the Sanctorale are linked to this famous Pyrenean monastery, which also cover a wide chronological arc from the 12th to the 15th cent. The research carried out is divided into two phases. In phase 1, we analyse these sources, correcting the erroneous adscription to San Juan de la Peña of the El Escorial Breviary L.III.4. In phase 2, we contextualise the tradition of the cult of saints at San Juan de la Peña, comparing its calendar to those of other peninsular Benedictine and diocesan churches of Aragon.
forms of liturgical expression most closely linked to the late Middle
Ages. Knowledge of the genre is, however, far from complete,
partly because of the scarce attention that late plainchant has received
until recently, but also because of its strong localism. In
fact, many of these offices were composed as a vehicle to honor the
patron saint of a particular church or monastery. In the long run,
this has resulted in their sources being limited and scattered, often
without musical notation. These pages aim to study the rhymed
office of Saint Froilanus (832-905), who was a hermit and, later,
bishop of Leon. Its interest lies primarily in its preservation in two
different musical versions: the first and most important, which
transmits the complete office, is in a breviary de Sanctis from the
13th and 14th centuries preserved in the Archive of the Cathedral
of Lugo; the other musical version, with five responsories, is in the
processional ms. 9 of the Archive of the Cathedral of Leon, copied
at the end of the 14th century. Besides the edition of the texts and
some scattered information, nothing is known about this repertoire.
Through its detailed analysis we intend to learn what were the
technical and aesthetic guidelines followed in its composition, as
well as how it adapted to the most primitive Gregorian corpus. The
evidence gathered will allow us to get closer to the chronological
dating of the office and the possible geographical origin of its composers.
here presents a marked interdisciplinary aspiration including diff erent fi elds of study such as: musicology, liturgy, history or palaeography. Among the most outstanding elements of this fragmentary corpus is the discovery of an antiphonary with a proper Office of St James the Apostle, dated ca. 1100, and therefore, in an earlier version than the Codex Calixtinus, with which it shares interesting textual and melodic concordances. The other great point of attraction is a bifolio of polyphonic music from the beginning of the 14th century, with excerpts of four compositions in Franconian notation.
of the 11th cent. This had two short-term effects on the liturgy of the saints. On the one hand, it promoted the introduction of many French saints’ cults derived from the use of manuscripts which served as models for the configuration of the Romanum officium. On the other hand, it caused a severe setback in the cult of the Iberian saints as the great majority of them were lacking proper formularies in the newly imported
books. The process of romanization of the saints in medieval Iberia is still little understood, despite its great significance for the study of the liturgy at that time. This essay aims to shed light on this lacuna, taking the Benedictine monastery of San Juan de la Peña as a reference point. Fortunately, some extant liturgical witnesses to the Sanctorale are linked to this famous Pyrenean monastery, which also cover a wide chronological arc from the 12th to the 15th cent. The research carried out is divided into two phases. In phase 1, we analyse these sources, correcting the erroneous adscription to San Juan de la Peña of the El Escorial Breviary L.III.4. In phase 2, we contextualise the tradition of the cult of saints at San Juan de la Peña, comparing its calendar to those of other peninsular Benedictine and diocesan churches of Aragon.
forms of liturgical expression most closely linked to the late Middle
Ages. Knowledge of the genre is, however, far from complete,
partly because of the scarce attention that late plainchant has received
until recently, but also because of its strong localism. In
fact, many of these offices were composed as a vehicle to honor the
patron saint of a particular church or monastery. In the long run,
this has resulted in their sources being limited and scattered, often
without musical notation. These pages aim to study the rhymed
office of Saint Froilanus (832-905), who was a hermit and, later,
bishop of Leon. Its interest lies primarily in its preservation in two
different musical versions: the first and most important, which
transmits the complete office, is in a breviary de Sanctis from the
13th and 14th centuries preserved in the Archive of the Cathedral
of Lugo; the other musical version, with five responsories, is in the
processional ms. 9 of the Archive of the Cathedral of Leon, copied
at the end of the 14th century. Besides the edition of the texts and
some scattered information, nothing is known about this repertoire.
Through its detailed analysis we intend to learn what were the
technical and aesthetic guidelines followed in its composition, as
well as how it adapted to the most primitive Gregorian corpus. The
evidence gathered will allow us to get closer to the chronological
dating of the office and the possible geographical origin of its composers.
here presents a marked interdisciplinary aspiration including diff erent fi elds of study such as: musicology, liturgy, history or palaeography. Among the most outstanding elements of this fragmentary corpus is the discovery of an antiphonary with a proper Office of St James the Apostle, dated ca. 1100, and therefore, in an earlier version than the Codex Calixtinus, with which it shares interesting textual and melodic concordances. The other great point of attraction is a bifolio of polyphonic music from the beginning of the 14th century, with excerpts of four compositions in Franconian notation.
area. In this regard, the inquiry on the contemporary musical treatises will acquire a substantial importance. In parallel, we will analyze some pieces of common plainchant that reveal details of mensuration, all belonging to the choral library of the Cathedral of Segovia. Finally, we will also pay special attention to the possible influence of the polyphony on the assimilation of such habits. It must be stressed, in this regard, that the chapel singers participated occasionally in the intonation of the ecclesiastical melodies, a fact hardly considered by the musicology.
le Midi region. However, it is still unknown how the new melodic corpus was assimilated in different Spanish churches, the models that may have served as references, and even, to what extent it remained stable with the passage of time. The objective of this article is to examine these issues from the perspective of a particular church: the Segovian diocese. A series of pieces belonging to the Offices of Saint Martin of Tours and Saint
Cecilia will thus be compared, according to two groups of sources: the first, consisting of five codices in Aquitanian notation, related to the new liturgical receptio in some form; and the second, consisting of several local manuscripts, namely, an antiphonary from the end of the 13th or the beginning of the 14th century, and four choirbooks copied soon after the Council of Trent.
use at present, above all in temples linked to religious orders. This late deployment certainly surprises if one considers the prominent role reached by the organ in the liturgical context from the end of the Middle Ages. Despite the importance which the mastery of that skill acquired among organists, it has not received for the moment due attention from the musicology. The present study concentrates on two aspects. In the first part, of a marked historiographical character, it describes the factors that prevented the accompaniment of the plainsong from coming to fruition sooner; factors largely determined by the limited acoustic possibilities of the primitive organ, as well as the adverse reaction that provoked such sound embellishment in some ecdesiastical circles. The second, an analytical approach, tries to reveal the aesthetic and stylistic criteria adopted by Spanish organists when they accompanied the sacred monody in the 19th century; the moment, as noted, of the consolidation of such practice. For the development of this section we will examine the proposals made by various contemporary authors such as Hilarión Eslava, Ignacio Ovejero or Ildefonso Jimeno de Lerma, among others. The way in which these authors resolve the melodic, rhythmic and harmonic parameters will contribute, likewise, to clarify some of the performance keys adopted by the plainsong around that time. The way to register the instrument in its coordination with the voice will also be the object of attention; an art of a special importance, but perhaps - for obvious reasons- it has gone unnoticed many times.
renacentista» (MEDyREN), de la Sociedad Española de Musicología (SEdeM) tiene
como objetivo reunir a todos los investigadores interesados en diversas perspectivas
desde las que se puede estudiar el hecho musical dentro de la península ibérica desde
los siglos IX al XVI o principios del XVII.
Conscientes en que los términos utilizados tradicionalmente para la periodización y su
concepción como etapas que comienzan y finalizan en fechas determinadas tienden a
utilizarse cada vez con menor profusión y siempre con la precaución de precisar una
evolución constante en la Historia, la utilización de una terminología tradicional tan
solo implica un intento de delimitar de forma breve unos estudios que se inician con
las primeras fuentes musicales escritas y que finaliza con el progresivo establecimiento
de las corrientes estéticas que se extienden hasta el Siglo de Oro.
Con la organización de este Segundo Congreso Internacional, que tendrá lugar en el
excepcional marco del Auditorio Municipal de Santo Domingo y de la Casa de Aguilar
en Borja (Zaragoza) durante los días 5 y 6 de abril de 2019, se pretende crear un foro
de discusión e intercambio de ideas, sobre distintas cuestiones de carácter
interdisciplinar relacionadas con la música desde la Edad Media hasta finales del siglo
XVI: musicólogos, intérpretes, historiadores e historiadores del arte serán algunos de
los encargados de proporcionar esa visión amplia del fenómeno musical en sus
diferentes contextos.
De la misma manera se abre un espacio en este congreso para dar a conocer las
últimas aportaciones de diferentes investigadores que vienen trabajando en este
campo, con el fin de intercambiar ideas sobre los últimos avances y estudios
realizados.
Las temáticas en torno a las cuales se articulará el congreso serán preferentemente las
siguientes:
- Fuentes litúrgico-musicales manuscritas e impresas
- Música, instituciones y espacios interpretativos
- Repertorio, análisis y prácticas musicales
- Humanidades digitales y Musicología
Ante esta situación, siete docentes de la Universidad de Salamanca, desarrollaron Recursos Educativos Abiertos (REA), materiales digitales y actividades interactivas, en modalidad b-learning, para promover la inclusión y participación reflexiva de los estudiantes.
Los objetivos de esta investigación han sido valorar la efectividad y acogida de los estudiantes sobre las actividades realizadas en disciplinas tan diversas como la Didáctica, Tecnología Educativa, Filosofía y Música. Metodología: Se diseñó y aplicó un cuestionario a través de Google Forms, con preguntas de corte cuantitativo y cualitativo / abiertas y cerradas. Resultados: Los estudiantes valoraron positivamente el poder contar con recursos digitales accesibles y actividades interactivas para dedicar las clases al refuerzo de los contenidos, sintiéndose más integrados. Conclusión y Discusiones: Se confirma la importancia de diseñar recursos accesibles y actividades complementarias a realizar de manera presencial, cuya planificación debe ser flexible, ya que no todos los estudiantes contaban con los recursos y buena conexión para acceder desde casa.
para medir el grado de satisfacción en relación a los métodos, técnicas y recursos de evaluación habitualmente utilizados en nuestras clases. En este trabajo se presentan los datos obtenidos y las acciones realizadas para promover la sensibilización multicultural.
institutions in favor of an improvement of professional skills. The simplicity of these routines makes them applicable without the need for the teacher to be a music specialist. In its interdisciplinary and polyvalent design, technical difficulties are excluded. The substantial savings in time and effort involved can increase the children motivation because their playful way. Its use encourages teaching creativity and helps overcome possible communication barriers.
PROGRAMME
9.45-10.00 Opening Remarks Manuel Pedro Ferreira (CESEM–NOVA University)
10.00-10.45 Changes in Aquitanian notation in Spanish Plainchant Sources: Taxonomy and Peculiarities Santiago Ruiz Torres (Universidade de Salamanca)
10.45-11.30 An Overview on Castilian Polyphonic Fragments Nuria Torres (Universidad de Valladolid)
11.45-12.30 Problems encountered in the identification of Portuguese medieval liturgical fragments: a case study João Pedro d’Alvarenga (CESEM–NOVA University)
12-30 – 14.00 LUNCH
14.00-14.45 The Notation of the Portuguese Plainchant Fragments from Braga and Guimarães (12th–14th cent.) Elsa De Luca (CESEM–NOVA University)
15.00-16.30 Workshop with Z. Chaves and E. De Luca
16.30-16.45 Closing remarks Manuel Pedro Ferreira
17.00-17.30 LECTURE-PERFORMANCE
A thorough analysis of the improvisatory models of the villancicos of Luis Milán and their applicability in the reconstitution of vihuela accompaniment parts
Rui Araujo and Nuno Raimundo (CESEM–NOVA University of Lisbon)
This workshop is in two parts. Firstly, the four speakers will present several examples of Spanish and Portuguese musical fragments dating from the tenth to the sixteenth centuries and discuss their musical and codicological characteristics. In the second part the participants will be actively involved in the identification and description of the contents of some unstudied musical fragments belonging to a private collector who has kindly allowed us to include photos of them within the Portuguese Early Music Database (pemdatabase.eu).
The Portuguese Early Music Database is an ongoing research project which aims to digitize musical manuscripts of plainchant and polyphony written before c. 1650 and make them freely available online for consultation. Currently the PEM database includes reproductions of ca 15% of the manuscripts we have digitised so far and we are seeking new collaborators willing to study for the first time the contents of these sources or to focus on some of the features (such as the decoration, palaeography, liturgy etc.) of the manuscripts already indexed in PEM in greater detail.
The workshop’s goals are to:
• provide the participants with some of the basic knowledge and guidelines they need in order to make inventories of the musical contents of different types of Iberian musical fragments dating from the tenth to the sixteenth centuries;
• encourage new collaborations and partnerships with the PEM Database.
The morning session will be held in Sala Multiusos 2, Edificio I&D, Av. de Berna 26, 1050-099 Lisbon
The afternoon session and the lecture-performance will be held in the Auditorium 001, Torre A, FCSH, Av. de Berna 26 C, 1069-061 Lisbon
ALL WELCOME
For more information see http://cesem.fcsh.unl.pt/en/event/a-portuguese-early-music-database-apresenta-um-dia-de-workshop-sobre-fragmentos-ibericos-manuscritos/
The workshop is organized by Dr Elsa De Luca