Book contents
- The Cambridge Companion to the Harpsichord
- Cambridge Companions to Music
- The Cambridge Companion to the Harpsichord
- Copyright page
- Contents
- Figures
- Music Examples
- Contributors
- Acknowledgments
- Chronology
- Introduction
- 1 History and Construction of the Harpsichord
- 2 The Virginalists
- 3 England
- 4 The Netherlands and Northern Germany
- 5 Southern Germany and the Austro-Hungarian Empire to 1750
- 6 France
- 7 Italy
- 8 Portugal
- 9 Spain
- 10 Domenico Scarlatti in Portugal and Spain
- 11 Russia
- 12 The Nordic and Baltic Countries
- 13 The Harpsichord in Colonial Spanish and Portuguese America
- 14 Bach, Handel, and the Harpsichord
- 15 The Harpsichord in Ensemble
- 16 Contemporary Harpsichord Music
- 17 Tuning and Temperament
- Appendices
- Glossary
- Index
- References
13 - The Harpsichord in Colonial Spanish and Portuguese America
Published online by Cambridge University Press: 05 January 2019
Edited by
Book contents
- The Cambridge Companion to the Harpsichord
- Cambridge Companions to Music
- The Cambridge Companion to the Harpsichord
- Copyright page
- Contents
- Figures
- Music Examples
- Contributors
- Acknowledgments
- Chronology
- Introduction
- 1 History and Construction of the Harpsichord
- 2 The Virginalists
- 3 England
- 4 The Netherlands and Northern Germany
- 5 Southern Germany and the Austro-Hungarian Empire to 1750
- 6 France
- 7 Italy
- 8 Portugal
- 9 Spain
- 10 Domenico Scarlatti in Portugal and Spain
- 11 Russia
- 12 The Nordic and Baltic Countries
- 13 The Harpsichord in Colonial Spanish and Portuguese America
- 14 Bach, Handel, and the Harpsichord
- 15 The Harpsichord in Ensemble
- 16 Contemporary Harpsichord Music
- 17 Tuning and Temperament
- Appendices
- Glossary
- Index
- References
- Type
- Chapter
- Information
- The Cambridge Companion to the Harpsichord , pp. 236 - 262Publisher: Cambridge University PressPrint publication year: 2019
References
Further Reading
Baker, Geoffrey. “Music in the Convents and Monasteries of Colonial Cuzco.” Revista de Música Latinoamericana 24, no. 1 (Spring–Summer, 2003), pp. 1–41.Google Scholar
Béhague, Gerard. “Ecuadorian, Peruvian, and Brazilian Ethnomusicology: A General View.” Revista de Música Latinoamericana 3, no. 1 (Spring–Summer, 1982), pp. 17–35.Google Scholar
Bermudez, Egberto. La música en el arte colonial de Colombia. Bogotá: Fundación de Música, 1994.Google Scholar
Chávez, Náder, Tania, Zelma. New Perspectives on the Life and Music of the Mexican Composer Rodolfo Campodónico Morales (1864–1926): Study, Edition and Recordings of Six Rediscovered Piano Waltzes. DMA thesis, Arizona State University, 2009.Google Scholar
Escobar, José Perdomo, Ignacio. Historia de la Música en Colombia. Fifth edition. Bogotá: Plaza & Janes, Editores, 1980.Google Scholar
Guzmán, Bravo, José, Antonio. “Mexico, Home of the First Musical Instrument Workshops in America.” Early Music 6, no. 3 (July, 1978), pp. 350–355.CrossRefGoogle Scholar
Kennedy, T. Frank. “Colonial Music from the Episcopal Archive of Concepción, Bolivia.” Revista de Música Latinoamericana 9, no. 1 (Spring–Summer, 1988), pp. 1–17.Google Scholar
Lanam, Faith S. “Mothers, Niñas, and Nuns: The Professional Training of Young Female Musicians of Colonial Mexico.” American Musicological Society, Eighty-Second Annual Meeting, November 3–6, 2016, pp. 53–54. www.ams-net.org/vancouver/abstracts.pdf.Google Scholar
Ramos, Krittel, Jesús A. Playing in the Cathedral: Music, Race, and Status in New Spain. New York: Oxford University Press, 2016.CrossRefGoogle Scholar
Sepp von Rechegg, Anton (1655–1733). Viagem às missões jesuíticas e trabalhos apostólicos. São Paulo: Livraria Martins Editora, 1972.Google Scholar
Stevenson, Robert Murrel (1916–2012). “Colonial Music in Colombia.” The Americas 19, no. 2 (October, 1962), pp. 121–136.CrossRefGoogle Scholar