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ETD Abstract Container

Abstract Header

Musical scenes in the minor, secular, and religious works of Agustín Moreto y Cabaña (1618-1669)

Porras, George Yuri
http://rave.ohiolink.edu/etdc/view?acc_num=osu1104116173

Abstract Details

2005, Doctor of Philosophy, Ohio State University, Spanish and Portuguese.
Scholars have long known the fact that Spanish Golden Age theatrical works are filled with musical references that contribute to the overall success of the plays. As a special effect, music was at the center of performances, both in the corrales and at court. Unfortunately, a large portion of music to which the theatrical texts allude has been lost due in part to poor record keeping and fires. Of the music that survives, a major part relates to works of Lope de Vega (1564-1635) and, especially, Calderón (1600-1681), both of whom have been the focus of significant research regarding the subject. Lope de Vega and Calderón, however, are not the only playwrights whose works contain music references. Because of scholars such as José Subirá and Louise K. Stein, who have brought eighteenth-century music manuscripts to light, music references that appear in the works of other playwrights can be studied as well. I propose, therefore, to analyze the contribution and significance of music in a selected number minor, secular, and religious plays by the preeminent dramatist Agustín Moreto (1618-1669). The objective of my analysis is twofold. On the one hand, I analyze the way in which music fulfilled several practical, technical, and structural functions. On the other, I study, from semiotic and performance theories, ways in which music reflects and affirms, or, in a few cases, inverts and subverts a number of the ideals of Spanish seventeenth-century society. The kinds of instruments used, the various songs and dances performed, all contributed to the formation of musical scenes which create significant semiotic relationships that reveal the performance of social codes, comprising such matters as honor, religion, hierarchy, love, and class. In short, this research proposes to contextualize the extant music and song-texts in terms of their semiotic (musical, theatrical, and social) relationship with Moreto’s theater and its reception.
Donald Larson (Advisor)
370 p.
Music in seventeenth-cengury Spanish Theater; comedia; scenes; social codes; amor hereos; honor; Moreto

Recommended Citations

Citations

  • Porras, G. Y. (2005). Musical scenes in the minor, secular, and religious works of Agustín Moreto y Cabaña (1618-1669) [Doctoral dissertation, Ohio State University]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104116173

    APA Style (7th edition)

  • Porras, George. Musical scenes in the minor, secular, and religious works of Agustín Moreto y Cabaña (1618-1669). 2005. Ohio State University, Doctoral dissertation. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=osu1104116173.

    MLA Style (8th edition)

  • Porras, George. "Musical scenes in the minor, secular, and religious works of Agustín Moreto y Cabaña (1618-1669)." Doctoral dissertation, Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104116173

    Chicago Manual of Style (17th edition)

osu1104116173
4,598
© 2004, all rights reserved.
This open access ETD is published by The Ohio State University and OhioLINK.