La vida musical en el Convento Máximo de San Francisco de Quito durante el período bajocolonial (1692-1808)
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2023
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23/05/2023
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Universidad Complutense de Madrid
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Abstract
La tesis doctoral que se presenta a continuación acomete una investigación focalizada en la vida musical en el Convento Máximo de San Francisco de Quito durante el último tercio de la época colonial, específicamente entre 1692 y 1808. Este trabajo parte de la premisa de que, hasta el momento, el Archivo General de la Orden Franciscana del Ecuador no ha sido investigado desde una perspectiva musicológica, razón principal por la que se desconocen datos precisos acerca de la vida musical desarrollada en el convento franciscano. Mediante un discurso narrativo y descriptivo, la presente tesis expone información distribuida en cuatro bloques temáticos. En el primer bloque se presenta, por un lado, cómo era la ciudad de Quito y su cultura antes de la llegada de los españoles, una sucinta descripción del paisaje sonoro, el arribo de los franciscanos a tierras quiteñas, la fundación de su convento y su estructura organizacional (capítulo 1); y por otro, el establecimiento de los colegios San Andrés y San Buenaventura (capítulos 2 y 3), entidades adscritas y dependientes del convento que fueron claves en el desarrollo cultural de la ciudad. El segundo bloque está dedicado a examinar la normativa que regía la actividad musical (capítulo 4) y a exponer cuáles eran las festividades y ceremonias en que se interpretaba la música (capítulo 5). En el tercer bloque se suministran datos sobre la caracterización de los distintos individuos vinculados a la capilla musical del convento: vicarios de coro (capítulo 6), maestros de capilla, organistas, ministriles y cantores(capítulo 7). El último bloque se centra en documentar el uso y la procedencia de los distintos objetos empleados en el ejercicio litúrgico-musical, como son los órganos y los libros de coro(capítulos 8 y 9). A lo largo de la tesis también se ofrecen comparaciones con algunas instituciones religiosas del país y de la región, lo que ayuda a contextualizar los datos proporcionados.
The present doctoral thesis undertakes an investigation focused on the musical life at the Convento Máximo de San Francisco de Quito during the last third of the colonial era, specifically between 1692 and 1808. This work is based on the premise that, hitherto, the General Archive of the Franciscan Order of Ecuador has not been researched from a musicological perspective, the main reason precise data about musical life developed in the Franciscan convent of Quito remains unknown. Through a narrative and descriptive discourse, this thesis offers information distributed in four thematic sections. The first section presents, onthe one hand, the city of Quito and its culture before the advent of Spaniards, a brief description of the soundscape, the arrival of Franciscans to Quito, the foundation of their convent and its organizational structure (chapter 1); and on the other, the establishment of San Andrés and San Buenaventura schools (chapters 2 and 3), entities attached and dependent on the convent that were significant in the city's cultural development. The second section is dedicated to examining the regulations that governed musical activity (chapter 4) and explaining the music performed in festivities and ceremonies (chapter 5). The third section provides data about characterization of different individuals linked to the convent's musical chapel: choir vicars (chapter 6), chapel masters, organists, minstrels, and singers (chapter 7). The final section focuses on documenting the use and origin of different objects used in the liturgical-musical practice, such as organs and choir books (chapters 8 and 9). Throughout the thesis, comparisons with few religious institutions in the country and the region are also offered to contextualize the information provided.
The present doctoral thesis undertakes an investigation focused on the musical life at the Convento Máximo de San Francisco de Quito during the last third of the colonial era, specifically between 1692 and 1808. This work is based on the premise that, hitherto, the General Archive of the Franciscan Order of Ecuador has not been researched from a musicological perspective, the main reason precise data about musical life developed in the Franciscan convent of Quito remains unknown. Through a narrative and descriptive discourse, this thesis offers information distributed in four thematic sections. The first section presents, onthe one hand, the city of Quito and its culture before the advent of Spaniards, a brief description of the soundscape, the arrival of Franciscans to Quito, the foundation of their convent and its organizational structure (chapter 1); and on the other, the establishment of San Andrés and San Buenaventura schools (chapters 2 and 3), entities attached and dependent on the convent that were significant in the city's cultural development. The second section is dedicated to examining the regulations that governed musical activity (chapter 4) and explaining the music performed in festivities and ceremonies (chapter 5). The third section provides data about characterization of different individuals linked to the convent's musical chapel: choir vicars (chapter 6), chapel masters, organists, minstrels, and singers (chapter 7). The final section focuses on documenting the use and origin of different objects used in the liturgical-musical practice, such as organs and choir books (chapters 8 and 9). Throughout the thesis, comparisons with few religious institutions in the country and the region are also offered to contextualize the information provided.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 23/05/2023