Imposing Harmony

Baker Geoffrey Baker

Description

Imposing Harmony is a groundbreaking analysis of the role of music and musicians in the social and political life of colonial Cuzco. Challenging musicology's cathedral-centered approach to the history of music in colonial Latin America, Geoffrey Baker demonstrates that rather than being dominated by the cathedral, Cuzco's musical culture was remarkably decentralized. He shows that institutions such as parish churches and monasteries employed indigenous professional musicians, rivaling Cuzco Cathedral in the scale and frequency of the musical performances they staged.Building on recent scholarship by social historians and urban musicologists and drawing on extensive archival research, Baker highlights European music as a significant vehicle for reproducing and contesting power relations in Cuzco. He examines how Andean communities embraced European music, creating an extraordinary cultural florescence, at the same time that Spanish missionaries used the music as a mechanism of colonialization and control. Uncovering a musical life of considerable and unexpected richness throughout the diocese of Cuzco, Baker describes a musical culture sustained by both Hispanic institutional patrons and the upper strata of indigenous society. Mastery of European music enabled elite Andeans to consolidate their position within the colonial social hierarchy. Indigenous professional musicians distinguished themselves by fulfilling important functions in colonial society, acting as educators, religious leaders, and mediators between the Catholic Church and indigenous communities.

Sujets

• América del Sur
• Cultural studies
• South America
• History of the Americas

Informations

• Publié par: Duke University Press
• Date de parution: 24 mars 2008
• Nombre de lectures: 0
• EAN13: 9780822388753
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Imposing Harmony

duke university press Durham and London 2008

Imposing Harmony

music and society

in colonial cuzco

Geo√rey Baker

∫2008 Duke University Press All rights reserved Printed in the United States of America on acid-free paper$ Designed by Amy Ruth Buchanan Typeset in Quadraat by Keystone Typesetting, Inc. Library of Congress Cataloging-in- Publication Data appear on the last printed page of this book.

For Charlotte

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two

three

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Contents

Acknowledgments

introduction

ix

1

The Urban Soundscape

17

The Cathedral and the Seminary of San Antonio Abad 70

Convents and Monasteries

The Urban Parishes

149

The RuralDoctrinas de Indios

conclusion

Notes249 References285 Index299

238

111

191

Acknowledgments

I have been truly fortunate that three wonderful scholars of Spanish and Latin American music—Tess Knighton, Henry Stobart, and Juan José Carre- ras—have shown such belief in my work for many years. I deeply appreciate their involvement and support. For their help and encouragement, I am grateful to my colleagues past and present in the Music Department at Royal Holloway, University of London, and to the community of Spanish historical musicologists that has welcomed me at conferences and has engaged with my work. Many archive researchers have o√ered their thoughts and advice when our paths have crossed. Gabriela Ramos, Jean-Jacques Decoster, Carolyn Dean, and Kathryn Burns have given me vital assistance at various stages of this project and have inspired me with their exemplary work. Pedro Guibo- vich kindly provided useful leads in Cuzco and Seville. I would particularly like to thank Donato Amado, my archivalmaestroand friend, who has helped me in more ways than I can remember, and who, along with Gabriela Ramos, located a number of early-seventeenth-century notarial documents cited in this study. I owe an intellectual debt not only to these scholars, but also to the work of Robert Stevenson and Samuel Claro, pioneers in the investigation of Cuzco’s music history, and to that of Bernardo Illari and Juan Carlos Estenssoro, two inspirational musicologists of the Andean re- gion. Bernardo has o√ered support and assistance since before the idea for this book was formed, and his work has always been an example to me. Estenssoro’s unpublished master’s thesis is a model of Latin American historical musicology, though its accessibility is sadly very restricted. I am grateful to the directors and archivists of the Archivo Departamental del Cuzco; the Archivo Arzobispal del Cuzco; the Archivo Arzobispal de Lima; the Biblioteca Nacional del Perú, Lima; and the Archivo General de Indias, Seville. Diana Fernández Calvo and the sta√ at the Universidad Católica de Argentina kindly assisted me during my research in Buenos