Parody and Contrafaction in the Cantigas by Alfonso X

Research output: Contribution to conferencePaper

Abstract

Contrafaction, allusion and parody are related concepts, yet the extent to which they can be applied in song before 1300 is very different. This paper explores the uses of contrafactum in early Iberian song, from the time of the Emirate of Cordoba onwards, and examines in detail Galician -Portuguese cantigas by Alfonso X (+1284), of both secular and devotional nature, trying to determine the presence of such procedures. Cantigas de Santa Maria include nr. 90 (compared with the responsory Gaude Maria Virgo); 350 (compared with the sequence Dies irae); 422 (compared with the Song of the Sibyl); 421 (compared with the offertory Recordare, Virgo Mater); 340 (compared with the alba S'anc fui belha by Cadenet); 132 (compared with Alfonso's satyre Nom me posso pagar tanto). Other cantigas include the debate of Alfonso with Arnaut, Senher, ad-ars ie'us venh' querer (confronted with Can vei la lauzeta mover by Bernart de Ventadorn) and the former's satirical song Com'eu en dia de Pascoa (which recalls the Latin Kyrie Cunctipotens genitor).
Original languageEnglish
Publication statusPublished - 20 Jun 2014
EventJornada de Música Medieval - Conservatorio Profesional de Música Amaniel , Madrid, Spain
Duration: 20 Jun 2014 → …
http://www.musicaantigua.com/jornadas-de-musica-medieval-en-madrid

Conference

ConferenceJornada de Música Medieval
CountrySpain
CityMadrid
Period20/06/14 → …
Internet address

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Parody
Song
Cantigas
Satire
Nature
Latin Language
Kyrie
Allusion
Cantigas De Santa Maria
Offertory

Keywords

  • Música antiga
  • Musicologia
  • Cantigas de Santa Maria

Cite this

Ferreira, M. P. R. (2014). Parody and Contrafaction in the Cantigas by Alfonso X. Paper presented at Jornada de Música Medieval, Madrid, Spain.
Ferreira, Manuel Pedro Ramalho. / Parody and Contrafaction in the Cantigas by Alfonso X. Paper presented at Jornada de Música Medieval, Madrid, Spain.
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Ferreira, MPR 2014, 'Parody and Contrafaction in the Cantigas by Alfonso X' Paper presented at Jornada de Música Medieval, Madrid, Spain, 20/06/14, .

Parody and Contrafaction in the Cantigas by Alfonso X. / Ferreira, Manuel Pedro Ramalho.

2014. Paper presented at Jornada de Música Medieval, Madrid, Spain.

Research output: Contribution to conferencePaper

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N2 - Contrafaction, allusion and parody are related concepts, yet the extent to which they can be applied in song before 1300 is very different. This paper explores the uses of contrafactum in early Iberian song, from the time of the Emirate of Cordoba onwards, and examines in detail Galician -Portuguese cantigas by Alfonso X (+1284), of both secular and devotional nature, trying to determine the presence of such procedures. Cantigas de Santa Maria include nr. 90 (compared with the responsory Gaude Maria Virgo); 350 (compared with the sequence Dies irae); 422 (compared with the Song of the Sibyl); 421 (compared with the offertory Recordare, Virgo Mater); 340 (compared with the alba S'anc fui belha by Cadenet); 132 (compared with Alfonso's satyre Nom me posso pagar tanto). Other cantigas include the debate of Alfonso with Arnaut, Senher, ad-ars ie'us venh' querer (confronted with Can vei la lauzeta mover by Bernart de Ventadorn) and the former's satirical song Com'eu en dia de Pascoa (which recalls the Latin Kyrie Cunctipotens genitor).

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Ferreira MPR. Parody and Contrafaction in the Cantigas by Alfonso X. 2014. Paper presented at Jornada de Música Medieval, Madrid, Spain.