Juan Manuel Gaitán y Arteaga, the influenced musician [final]

Alba Conejo Mangas

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Juan Manuel Gaitán y Arteaga, the influenced musician [final] (2024)

Alba Conejo Mangas

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Name: Alba Conejo Mangas. Main subject: Historical violin. Research supervisor: Wouter Verschuren. Title of the research: Juan Manuel Gaitán y Arteaga, the "influenced" musician. Research question: Is it possible to distinguish the influence of pre-flamenco in the villancicos of Juan Manuel Gaitán y Arteaga? Summary of results: During my research, I never imagined finding music from Lima or Guatemala composed by Juan Manuel Gaitán y Arteaga, a musician from Córdoba, Spain, in the XVIII century, who had never been in these places. This discovery presented an interesting challenge: to bring back to life scores that had been forgotten for over two hundred years and to explore the music played in Córdoba Cathedral during the middle of the XVIII century. My interest on Juan Manuel Gaitán y Arteaga started when I listened to a beautiful villancico "Voy buscando mi cordero" by Gaitán y Arteaga, performed by La Orquesta Barroca de Sevilla with Enrico Onofri. Despite being sacred music composed for the church and for weekly mass, it was written in Spanish and carried a distinct Spanish folkloric flavour. Did Juan Manuel Gaitán y Arteaga have a connection with XVIII century Spanish folk music? This caught my attention and spurred me to delve deeper into his music, particularly his villancicos. I soon realized how little-known Juan Manuel's music is today The line of research I pursued falls within the realm of musicological-historical research. The musicological techniques employed include those related to musical historiography, such as the chronological organization of historical-musical events, particularly in Córdoba. Additionally, it involves an understanding of musical compositions, forms, and styles, as well as musical aesthetics, encompassing the conception of music, its functions, and purposes. The objectives are: to understand the musical personality of Gaitán y Arteaga in his villancicos and the relation between the folkloric and ecclesiastical world in Spain on XVIII C. Biography: Born in Las Palmas de Gran Canaria, she finished her modern bachelor under the guidance of Gordan Nikolic in Rotterdam. It was then, that she started her interest in historical performance. After her graduation, she studied for her baroque bachelor's in Brussels under the guidance of Ryo Terakado, and in 2022 she started her master's degree at The Hague Conservatory with professor Ryo Terakado too.

type	research exposition
keywords	Juan Manuel Gaitán y Arteaga, Spanish, Folk, 18th century
date	21/11/2023
published	30/04/2024
last modified	30/04/2024
status	published
share status	private
copyright	Alba Conejo Mangas
license	CC BY-NC-ND
url	https://www.researchcatalogue.net/view/2658087/2658923
doi	https://doi.org/10.22501/koncon.2658087
published in	KC Research Portal
portal issue	1. Master Research Projects

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name	Figure 1 Big melisma in Bar 54 in the aria os Sol Escondido
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name	figure 2 Bar 113-117
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name	figure 3 Fragment of Jardinerito del Huerto Cerrado
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name	Figure 4 Fragment of Venga el barbaro Otomano
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name	Table 1. Instruments used before and after Gaitán y Arteaga at Córdoba Cathedral.
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name	Figure 1 Big melisma in Bar 54 in the aria os Sol Escondido
copyright	Alba Conejo Mangas
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usages	picture, picture, picture, picture

name	figure 2 Bar 113-117
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usages	picture, picture

name	figure 3 Fragment of Jardinerito del Huerto Cerrado
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usages	picture

name	figure 2 Bar 113-117
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name	Table of pre-flamenco genres analysed in this research on XVIII C in Spain
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name	figure 3 Tenor solo and string accompaniment of the introduction Pascual está aquí
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name	Figure 6 Alternated between solo and tutti Jardinerito del huerto cerrado
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name	Figure 7 Contrapuntal entrance Mi sol, favor te pido. Bars 17-22
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name	Figure 8 Fragment of the coplas with solo soprano Jardinerito del Huerto cerrado Bars 95 -100
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usages	picture, picture

name	Figure 9 A la lid, al arma tocan. Bars 128-133
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usages	picture, picture

name	Figure 10: Mi sol, favor te pido. Bars 114-119
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usages	picture, picture

name	Figure 11 Eternamente triste. Bars 16-18
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usages	picture, picture

name	Figure 12 Voy buscando mi cordero. Bars 20-22
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usages	picture

name	figure 13 Front page of Voy buscando mi cordero. Source Archivo histórico Arquidiocesano de Guatemala, manuscrito de música
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usages	picture, picture

name	Figure 15. Voy buscando mi cordero. Bars 7-8
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usages	picture, picture

name	Figure 16. Voy buscando mi cordero Bars 9-12
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usages	picture, picture

name	Figure 17. Voy buscando mi cordero. Bars 10-12
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name	Figure 18. Voy buscando mi cordero. Bars 19-21
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name	Figure 19. Voy buscando mi cordero. Bars 30-33
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name	Figure 20. Voy buscando mi cordero. Bars 36-37
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name	Figure 21. First Horn scores. Pascual está aquí señores. Source. Archivo Arzobispal de Lima, Manuscrito de Música.
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name	Figure 22. Pascual está aquí Bars 7-11
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name	Figure 23. Pascual está aquí. Bars 95-100.
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name	Figure 24. Violone scores A la lid, al arma tocan. Source Archivo Arzobispal de Lima, Manuscritos de Música. (original manuscripts)
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name	Figure 25. A la lid, al arma tocan, Bars 20-25
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name	Figure 26. A la lid, al arma tocan. Bars 141-144.
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name	Figure 27. Cover of the villancico. Hoy amor a los hombres. Source. Archivo de música del Real Monasterio de El Escorial, manuscrito de música
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usages	picture

name	Figure 28. Hoy amor a los hombres. Bars 10-14.
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usages	picture

name	voy buscando a mi cordero
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usages	video

name	Pascual está aquí
copyright	Alba Conejo Mangas
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usages	video

name	A la lid, al arma tocan
copyright	Alba Conejo Mangas
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usages	video

name	Hoy amor a los hombres
copyright	Alba Conejo Mangas
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usages	video

name	Voy buscando mi cordero
copyright	Alba Conejo Mangas
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usages	pdf

name	Pascual está aquí
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usages	pdf

name	A la Lid, al arma tocan
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usages	pdf

name	Hoy amor a los hombres
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usages	pdf

name	Figure 30. Pascual está aquí. Círculo
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usages	picture

name	Figure 31. Cual salta el gozo. Círculo
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usages	picture

name	Figure 32. Voy buscando mi cordero. Círculo
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usages	picture

name	Figure 33. La españolizada. Jacinto Valledor
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name	Figure 35. Pascual está aquí.
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name	Figure 29. La tirana. Oil painting by Francisco de Goya in 1799. San Fernando Royal Academy of Fine Arts.
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usages	picture, picture

name	Table 3. Table of Comparison between opera buffa and tonadilla de escena
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usages	picture, picture

name	Table 4. 1 General features of Tonadillas and Villancico of Juan Manuel Gaitán y Arteaga.
copyright	Alba Conejo Mangas
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usages	picture

name	Table 4. General features of Tonadillas and Villancico of Juan Manuel Gaitán
copyright	Alba Conejo Mangas
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usages	picture, picture

name	Figure 30. Voy buscando mi cordero. Violin II
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usages	picture

name	Table 5. Instruments used in Tonadilla de escena and Villancicos of Juan Manuel Gaitán y Arteaga.
copyright	Alba Conejo Mangas
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usages	picture, picture

name	Figure 36. Eternamente triste-Aria. Juan Manuel Gaitán y Arteaga. Bars 1-4
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usages	picture, picture

name	Figure 37. Eternamente triste-Aria. Juan Manuel Gaitán y Arteaga. Bars 8-12
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usages	picture, picture

name	Table 5. Resume of chapter 8 with a comparative table tonadilla de escena and villancico.
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usages	picture, picture

name	Table 4. General features of Tonadillas and Villancico of Juan Manuel Gaitán y Arteaga.
copyright	Alba Conejo Mangas
license	All rights reserved
usages	picture

name	Figure 30. Voy buscando mi cordero. Violin II
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usages	picture

name	Voy buscando mi cordero. Corte 1
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usages	video

name	Pascual está aquí señores
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usages	video

name	Cual salta el gozo,
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usages	video

name	Pascual corte, segunda parte 6
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usages	video

name	Hoy amor a los hombres corte 11
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usages	video

name	Eternamente triste
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usages	video

name	venga el Bárbaro Otomano.
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usages	video

name	Voy buscando mi cordero.
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usages	video

name	Cordoba catedral
copyright	Alba Conejo Mangas
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usages	picture

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Juan Manuel Gaitán y Arteaga, the influenced musician [final] (2024)

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