Musical Epigraphies of Antiphon Salve Regina by Cristóbal de Morales: The Walls of the Sanctuary of Nuestra Señora del Pueyo, Villamayor de Gállego, Zaragoza
In 1990 a publication by Pedro Calahorra reported a unique musical notation of a Salve on the walls of the Sanctuary of Nuestra Señora del Pueyo in Villamayor de Gállego, Zaragoza. The contributions offered in this article have enhanced research in this area through a revised study of this musical e...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2022
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| In: |
Religions
Year: 2022, Volume: 13, Issue: 2 |
| Further subjects: | B
Cristóbal de Morales
B white mensural notation B Salve Regina B musical epigraphy B Heritage |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a In 1990 a publication by Pedro Calahorra reported a unique musical notation of a Salve on the walls of the Sanctuary of Nuestra Señora del Pueyo in Villamayor de Gállego, Zaragoza. The contributions offered in this article have enhanced research in this area through a revised study of this musical epigraphy. The analysis of the palaeography of notation reveals the dating of the work and, therefore, a possible collation with the Spanish polyphonic sources belonging to the white mensural notation, determining that it is the Salve Regina in four by Cristóbal de Morales. This study aims to recognize musical epigraphies as historiographic-musical sources of information capable of intervening in the reconstruction of a musical past, so they must be restored, preserved, catalogued and displayed like any historical document, regardless of their physical support. The Salve Regina written on the walls of the Villamayor de Gállego sanctuary is the witness of a Christian tradition of devotion to the Virgin Mary. Within the Rite of Salve this chant was the most popular in the Iberian Peninsula during the Renaissance. | ||
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