Full curriculum vitae
Hearing Faith: Music as Theology in the Spanish Empire
Forthcoming 2020 from Brill
Hearing Faith explores the ways Roman Catholics in the seventeenth-century Spanish Empire used music to connect faith and hearing. From the Royal Chapel in Madrid to Puebla Cathedral in colonial Mexico, communities celebrated Christmas and other feasts with villancicos, a widespread genre of vernacular poetry and devotional music. A large proportion of villancico texts directly address the nature of hearing and the power of music to connect people to God. By interpreting complex and fascinating examples of “music about music” in the context of contemporary theological writing, the book shows how Spanish Catholics embodied their beliefs about music, through music itself. Listening closely to these previously undiscovered and overlooked archival sources reveals how Spanish subjects listened and why.
Villancicos about Music from Seventeenth-Century Spain and New Spain
Web Library of Seventeenth-Century Music, no. 32 (2017)
- Please see the villancico page for more information
Playing Cards at the Eucharistic Table: Music, Theology, and Society in a Corpus Christi Villancico from Colonial Mexico, 1628
Selected for the 2015 Alfred Einstein Award of the American Musicological Society
- Journal of Early Modern History, vol. 18, no. 4 (2014), 383—419
- Download PDF of full text1
- Performance of surviving parts on organ by Andrew Cashner (recorded in Fulton Hall, University of Chicago, 2011):
As part of the festivities of Corpus Christi in 1628, a cathedral
choir in colonial Mexico sang about the Eucharist through the metaphor
of a card game. This music is a previously unstudied, fragmentary
villancico, composed by Juan Gutiérrez de Padilla for the cathedral of
Puebla de los Ángeles, and it opens a window into the social history
of card-playing and gambling in the Spanish colonies. It stems from a
broader tradition of
divinizing cards, including poetry and
drama by Lope de Vega and González de Eslava. The article explores
the theological and social implications of using liturgical music to
present Christ as a rogue card player, winning humanity back from the
devil by laying down the trump card of his own body on the table.
Includes an edition of the surviving music. The online version
includes a recording played on the organ by the author.
Faith, Hearing, and the Power of Music in Hispanic Villancicos, 1600–1700
University of Chicago, 2015 (Advisor: Robert L. Kendrick)
In seventeenth-century Mexico and Spain, many villancicos (the predominant genre of vocal sacred music with vernacular words) used music to represent itself, with topics of singing, dancing, and music of the spheres. This study draws on such pieces as sources for understanding early modern Catholic beliefs about music. The central question concerns music’s role in the relationship between hearing and faith, particularly as used by the Spanish church and state. In a series of case studies, the project traces lineages of “metamusical” villancicos on the subject of heavenly music through networks of interrelated musicians. The study balances a global perspective with local case studies, with particular focus on Puebla de los Ángeles in Mexico and Montserrat, Segovia, and Zaragoza in Spain.
The Reception of Paul Gerhardt’s Hymns in the Seventeenth Century
University of Notre Dame, 2009 (Advisor: Mary E. Frandsen)
Despite the prominence of the hymns of Paul Gerhardt (1607–1676) in the liturgical works of J. S. Bach and in churches today, scholars like Irmgard Scheitler and Walter Blankenburg have argued that Lutherans in the seventeenth century used new hymns like Gerhardt’s only for private devotion, and did not sing them in public liturgies until the eighteenth century, under the influence of Pietism. In contrast, Christian Bunners argues that church choirs introduced the liturgical use of these hymns before Pietism. This thesis explores the role of Gerhardt’s hymns in Lutheran communities in the three spheres of home, school, and church. It critically examines numerous hymnal publications, and presents new evidence from school and church manuscript collections and inventories, not considered by the other scholars, arguing that Gerhardt’s hymns were not relegated to domestic use, but were also sung in church in many places by school choirs and perhaps also congregations.