Newsgroup: it.arti.musica.classica
Titolo: Por Favor,alguien sabe algo de Alonso de Mudarra

Hola, necesito saber cuantos hijos tuvo Alonso de Mudarra. No he
encontrado mucha información sobre el. Se que nació en 1508 y murió en
1580. Necesito saber la respuesta y la pagina donde se encuentra (si
conoces varias mejor). Es para un trabajo que he de entregar antes del
5-06-03. Muchas gracias!!!

"Juanje" ha scritto nel messaggio

Alonso de Mudarra (Sevilla 1510 ca - 1580) was an important vihuelist and
composer. Juan Bermudo, a noted theorist and composer in the 16th century,
wrote in his book "Declaracion de Instrumentos de Musicales" that Mudarra
was one of the best vihuelists in 1555.
Mudarra served as a priest at the Cathedral of Sevilla. Church Records
indicate that he served as Judge of the Cibary, and later served as the
Canon overseeing the Cathedral of Sevilla. Mudarra in a letter writes that
he had the Duke of Infantados, Diego Hurtado de Mendoza and D. Inigo Lopes
for patrons.
Mudarra published a collection of music for vihuela and four-course guitar
called "Tres Libros de Musica", which is thought to have been the first
publication for guitar. It contains Fantasias in three and four part
writing, arrangements of works by Josquin des Préz, lighter pieces, pieces
for guitar, music in all the modes, motets, romances, canciones, sonnets,
verses, villancicos, psalms and an organ solo.
The following book contains a lot of biographical informations about
Mudarra:
ALONSO MUDARRA, "Tres libros de música en cifra para vihuela", transcripción
y estudio por Emilio Pujol, Consejo Superior de Investigaciones Científicas,
Barcelona 1949
And here you'll find his works for guitar and vihuela in tablature:
http://www.geocities.com/CapitolHill/Lobby/7049/amtab.htm
Ciao,
Fabio
--
http://stage.vitaminic.it/fabio_rizza
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"Chi è più pazzo, il pazzo o il pazzo che lo segue?"
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 ha scritto nel messaggio
news:13e5dbd9.03052...@posting.google.com...

Mudarra, Alonso
(b c1510; d Seville, 1 April 1580). Spanish vihuelist and composer. Raised
in Guadalajara in the household of the third and fourth dukes of the
Infantado, Diego Hurtado de Mendoza (1461-1531) and Iñigo López de Mendoza
(1493-1566), it is likely that Mudarra travelled with the latter in the
entourage that accompanied Charles V to Italy in 1529. He subsequently
entered the priesthood, probably in Palencia, becoming a canon at Seville
Cathedral on 18 October 1546, less than two months before the publication of
his vihuela book. During the following 34 years he played an important role
in cathedral affairs: arranging the annual Corpus Christi celebrations,
hiring wind players, negotiating the purchase and installation of a new
organ, and consulting in 1572 with Francisco Guerrero at the request of the
chapter concerning the music commissioned from Guerrero for the coming
Christmas season. From March 1568 he served as major-domo of the cathedral,
in charge of all disbursements. After his death, the 92,000 maravedís raised
from the sale of his possessions was distributed to the poor according to
the provisions of his will.
Mudarra's Tres libros de musica en cifras para vihuela was published in
Seville on 7 December 1546 (R 1980; ed. in MME, vii, 1949). Comprising 77
works (including six pieces for four-course guitar and one for harp or
organ), the book contains numerous innovations. These include the earliest
music published for guitar, a newly-invented 14-line tablature system for
harp and organ, suite-like groupings of works by mode, and the earliest
fabordón psalm printed in Spain. The most prolific genre among Mudarra's
works are 27 fantasias, mainly polythematic works in imitative style with
lyrical free extensions and strong architectonic symmetry. He also included
two monophonic ostinato fantasias and several of more idiomatic character.
The ingenious Fantasía que contrahaze la harpa en la manera de Ludovico is a
disguised set of folia variations that use cross rhythms and bold
chromaticism to imitate the legendary harpist of Ferdinand III of Aragon.
The short tientos are idiomatic preludes used to commence the
modally-grouped 'suites' of the second book, while the glosas are parody
fantasias in which Mudarra alternates intabulated vocal polyphony with
original music. Twenty works from the second book were reprinted in keyboard
tablature by Venegas de Henestrosa (Libro de cifra nueva, 1557; ed. in MME,
iii, 1944), several with substantial modification. Other works for solo
vihuela include three pavanas, one paired with a galliard, and variations on
Conde claros and Guárdame las vacas. The brief tiento for harp or organ
appears in isolation to exemplify Mudarra's new tablature. His songs are
without parallel in 16th-century Spanish literature. They include romances,
villancicos, canciones, and sonnets by Garcilaso, Boscán, Petrarch and
Sannazaro. Latin settings include two psalms, texts by Horace, Ovid and
Virgil, in addition to intabulated mass sections by Josquin and Févin, and
motets by Gombert, Willaert and Escobar. Vocal parts are notated either on a
separate staff, or marked in the tablature with apostrophes. Three signs, ?,
C and C, are used to indicate fast, medium and slow tempos. Mudarra's
preface also discusses plucking technique, both thumb-index alternation and
the plectrum-like dedillo stroke.
BIBLIOGRAPHY
BrownI
StevensonSCM
J.M. Ward: 'The Editorial Methods of Venegas de Henestrosa', MD, vi (1952),
105-13
J.M. Ward: 'The Use of Borrowed Material in 16th-Century Instrumental Music'
, JAMS, v (1952), 88-98
J.M. Ward: The Vihuela de Mano and its Music (1536-1576) (diss., New York
U., 1953)
M. Schneider: 'Un villancico de Alonso de Mudarra procedente de la música
popular granadina', AnM, x (1955), 79-83
C. Jacobs: Tempo Notation in Renaissance Spain (Brooklyn, NY, 1964)
J. Griffiths: The Vihuela Fantasia: a Comparative Study of Forms and Styles
(diss., Monash U., 1983)
J. Griffiths: 'La "Fantasía que contrahaze la harpa" de Alonso Mudarra;
estudio histórico-analítico', RdMc, ix (1986), 29-40
C. Jacobs: A Spanish Renaissance Songbook (University Park, PA, 1988)
E. Bermúdez: 'Sobre la identidad de Ludovico', Nassarre, x (1994), 9-16