La música en la catedral de Guadix en los siglos XVI y XVII

Supervised by:
  1. Victoriano José Pérez Mancilla Director
  2. Francisco José García Gallardo Director

Defence university: Universidad de Huelva

Fecha de defensa: 03 April 2019

  1. Paulino Capdepón Verdú Chair
  2. Francisco Martínez González Secretary
  3. Antonio Ezquerro Esteban Committee member

Type: Thesis


This dissertation address the music in the cathedral of Guadix during the 16th and 17th centuries. The most relevant aspects concerning the musical agenda and the musicians of the site through these two centuries are analyzed. Also, during the development of this research, a collection of polyphonic pieces from this time was found. The collection had been unseen until now and has made it possible to gain insight into the compositions played in this cathedral at the time. With regard to the structure of our research, it consists of a total of thirteen chapters, whose description could be established in four blocks. The first block is formed by the first three chapters. Thus, the introductory chapter that describes the chosen topic, the state of play and the methodology is followed by the historical-social contextualization chapter and another one that outlines the cathedral of Guadix from the perspective of its construction and offers a description of the building in the 16th and 17th centuries.These two last chapters help us to understand the historical-social factors that influenced the life of the musicians and their music. Furthermore, the construction process of the cathedral in these two centuries was a key element in sustaining and recruiting the cathedral musicians. The second block is formed by six chapters. They describe the different musicians and servants that took part in the music played in the cathedral of Guadix. In this way, we can make a distinction between those musicians dedicated to the performance of Gregorian Chant (precentor, subchanter, subchanter assistant, choir chaplain, other ecclesiastics, choir servers) and the musical chapel in charge of the polyphony (chapel masters, singers, «seises», minstrels, organists). Additionally, these chapters include aspects like their duties, earnings and assignments, examinations and advancements, key dates or outstanding aspects of their lifes. Also, we can find a parallelism between the cathedral of Guadix and other religious centers of the time. The third boobk is dedicated to the catalogue of musical pieces collection from 16th and 17th centuries exposed in the research. Thus, after identifying the music genres developed at the time in the cathedral of Guadix, we offer a description of the different items that form the cataloguing template and establish the structure of the catalogue itself. Finally, the last block is made up of the bibliography and appendices chapters. In the appendices, we have included the screening of the Chapter Minutes, building logs and holy orders records. This is because we think they can represent a useful source of information for future researches, since they contain plenty of biographical references and interesting facts about the operability of a place like the cathedral of Guadix. In conclusion, this dissertation has made it possible to present, in the most exhaustive way possible, a period in the history of the music of the cathedral of Guadix briefly addressed in some publications until now. It has been possible to locate the musicians and articulate the musical activity of this cathedral during these two centuries, analyzing the main factors that influenced their development and the connection with other religious sites. Also, the discovery of its polyphonic music collection has allowed us to place this cathedral within the printed music trade of the time.