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[[Image:800px-Guatemala 176.jpg|thumb|400px|Cathedral, Antigua, Guatemala]]
[[Image:800px-Guatemala 176.jpg|thumb|400px|Cathedral, Antigua, Guatemala]]


(''Page maintained by [http://www.cpdl.org/wiki/index.php/Jonathan_Goodliffe Jonathan Goodliffe]'')
(''Page maintained by [[Jonathan Goodliffe]]'')


===Introduction===
===Introduction===


The Música Colonial Archive is an archive of manuscript and printed music  originally held at the cathedral in Antigua, Guatemala's former capital city. Some of the works have been transcribed and some of the transcriptions are available on CPDL (see list below)
<b>Note: a full list of cpdl scores transcribed from the archive may be found [http://www.cpdl.org/wiki/index.php/Category:M%C3%BAsica_colonial_scores here]</b>.


The works date from the 16th to the 18th centuries. A large number of works from the archive have been microfilmed. The microfilm versions, or some of them, have in turn been digitised and are on line at the [http://conan.lib.muohio.edu/musica/ Música Colonial Management Site], hosted by [http://www.lib.muohio.edu/ Miami University Libraries]. Musicologist [[w:Robert Stevenson (musicologist)|Robert Stevenson]] has carried out considerable research work on the archive. He has transcribed a large number of works included in it. In so doing he appears to have had access to the originals and to many works not included in the Música Colonial Management Site.
The Música Colonial Archive is an archive of manuscript and printed music originally held at the cathedral in Antigua, Guatemala's former capital city. The archive is now held at the cathedral in Guatemala City, the current capital. Some of the works have been transcribed and some of the transcriptions are available on CPDL. See [http://www.cpdl.org/wiki/index.php/Category:M%C3%BAsica_colonial_scores LIST] here.
 
The works date from the 16th to the 18th centuries. A large number of works from the archive have been microfilmed. The microfilm versions, or some of them, have in turn been digitised and are on line at the [http://conan.lib.miamioh.edu/musica/ Música Colonial Management Site], hosted by [http://www.lib.miamioh.edu/ Miami University Libraries]. Musicologist the late [[w:Robert Stevenson (musicologist)|Robert Stevenson]] has carried out considerable research work on the archive. He has transcribed a large number of works included in it. In so doing he appears to have had access to the originals and to many works not included in the Música Colonial Management Site.


===Composers represented in the archive===
===Composers represented in the archive===
Line 15: Line 17:
A list of some of the composers follows.
A list of some of the composers follows.
{{top}}
{{top}}
*[[Gregorio Allegri]]
*[[Pedro Bermúdez]]
*[[Pedro Bermúdez]]
*[[Rafael Antonio Castellanos]]
*[[Rafael Antonio Castellanos]]
Line 20: Line 23:
*[[Pierre Colin]]
*[[Pierre Colin]]
*[[Juana Inés de la Cruz]]
*[[Juana Inés de la Cruz]]
*Mateo Dallo y Lana
*[[Matheo de Dallo y Lana]]
*Francisco Davila
*Francisco Davila
*Francisco Delgado
*Francisco Delgado
Line 26: Line 29:
*[[Sebastián Durón]]
*[[Sebastián Durón]]
*[[Francisco Escalada]]
*[[Francisco Escalada]]
*[[Gaspar Fernandes]]
*[[Hernando Franco]]
*[[Francisco de Frías]]
{{middle|4}}
*[[Gabriel Garcia de Mendoza]]
*[[Gabriel Garcia de Mendoza]]
*[[Fabián García Pacheco]]
*[[Fabián García Pacheco]]
{{middle|4}}
*[[José Lorenzo Gómez del Valle]]
*[[José Lorenzo Gómez del Valle
*[[Gerónimo Gonzales]]
*[[Gerónimo Gonzales]]
*[[Francisco Guerrero]]
*[[Francisco Guerrero]]
*Juan Hidalgo
*Juan Hidalgo
*[[Juan Francés de Iribarren]]
*[[Juan Francés de Iribarren]]
*Ignacio Jerusalem
*[[Jerusalem, Ignacio de]]
*Leonardo Leo
*[[Leonardo Leo]]
*Antonio Literes
*Antonio Literes
*Felipe de la Madre de Dios
*[[Filipe da Madre de Deus]]
*Miguel Malanco
*Miguel Malanco
*Francisco Maldonado
*Francisco Maldonado
{{middle|4}}
*Gregorio Mariano de Soberanis
*Gregorio Mariano de Soberanis
{{middle|4}}
*[[Cristóbal de Morales]]
*[[Cristóbal de Morales]]
*[[Muelas, Diego de]]
*[[Juan de Navas]]
*[[José de Nebra]]
*[[José de Nebra]]
*[[Pedro Nolasco Estrada Aristondo]]
*[[Pedro Nolasco Estrada Aristondo]]
*[[Giovanni Pierluigi da Palestrina]]
*[[Giovanni Pierluigi da Palestrina]]
*[[S. Panini]]
*[[S. Panini]]
*[[Portell, Manuel Joseph]]
*[[Francisco de Quirós]]
*[[Manuel José de Quirós]]
*[[Manuel José de Quirós]]
*[[Pedro Rabaza]]
*[[Pedro Rabaza]]
*[[Juan Matias de Rivera]]
*[[Juan Matias de Rivera]]
*[[Juan Romero]]
*[[Juan Romero]]
{{middle|4}}
*Pedro Antonio de Roxas
*Pedro Antonio de Roxas
*Antonio de Salazar
*[[Matías Ruiz]]
{{middle|4}}
*[[Antonio de Salazar]]
*Diego Joseph de Salazar
*[[Salazar, Diego Joseph]]
*Thomas Salgado
*[[Tomás Salgado]]
*Joseph San Juan
*Joseph San Juan
*[[Luis Serra]]
*[[Luis Serra]]
*Manuel de Sumaya
*Joseph de la Torre
*Joseph de la Torre
*[[José de Torres]]
*[[José de Torres]]
*Mathias de Veana
*[[Matías Juan de Veana]]
*Tomás de Torrejon Velasco
*[[Tomás de Torrejón y Velasco]]
*[[Tomás Luis de Victoria]]
*[[Tomás Luis de Victoria]]
*Leonardo Vinci
*[[Leonardo Vinci]]
*[[Manuel de Zumaya]] (or Sumaya)
{{bottom}}
{{bottom}}


<gallery>
<gallery>
GregorioAllegri.png|Gregorio Allegri
juanacruz.jpg|Juana Inés de la Cruz
juanacruz.jpg|Juana Inés de la Cruz
Francisco_Guerrero.jpg|Francisco Guerrero
Francisco_Guerrero.jpg|Francisco Guerrero
Hidalgo.jpg|Juan Hidalgo
Portrait_of_Ignacio_Jerusalem.png|Ignacio Jerusalem
Leonardo_Leo.jpg|Leonardo Leo
morales.jpg|Cristóbal de Morales
morales.jpg|Cristóbal de Morales
Palestrina.jpg|Giovanni Pierluigi da Palestrina
Palestrina.jpg|Giovanni Pierluigi da Palestrina
Victoria.jpg|Tomás Luis de Victoria
Victoria.jpg|Tomás Luis de Victoria
vinci.jpg|Leonardo Vinci
</gallery>
</gallery>
===Música Colonial Digital Archive===
===Música Colonial Digital Archive===


[[Image:Muscol1.JPG|thumb|left|300px|The archivist, Luis Herrera]]The Música Colonial project —at [http://www.muohio.edu Miami University] in Oxford, Ohio— is an initiative to preserve, digitize, and provide online access to mostly handwritten and some printed Colonial times cathedral music scores. The scores have mostly Spanish lyrics with some works in Latin. The collection is in microfilm format. It is archived at the Mesoamerican Center for Regional Research ([http://www.cirma.org.gt CIRMA]) located in Antigua, Guatemala.
[[Image:Muscol1.JPG|thumb|left|300px|The archivist, Luis Herrera]]The Música Colonial project —at [http://www.miamioh.edu Miami University] in Oxford, Ohio— is an initiative to preserve, digitize, and provide online access to mostly handwritten and some printed Colonial times cathedral music scores. The scores have mostly Spanish lyrics with some works in Latin. The collection is in microfilm format. It is archived at the Mesoamerican Center for Regional Research ([http://www.cirma.org.gt CIRMA]) located in Antigua, Guatemala.
[[Image:Tor-misky.jpg|thumb|Image showing poor reproduction of many items in the Guatemala archive]]
[[Image:Tor-misky.jpg|thumb|Image showing poor reproduction of many items in the Guatemala archive]]
The collection was borrowed from CIRMA and brought to the Miami University Libraries in Spring 2002 by professor Mario Ortiz, who was teaching at Miami University at the time. The collection consists of 811 cathedral music works (more than 10,000 pages) by different composers from the colonial times. One of the composers is the famous 17th Century Mexican nun and feminist Sor Juan Inés de la Cruz (see her villancico in the list below).  
The collection was borrowed from CIRMA and brought to the Miami University Libraries in Spring 2002 by professor Mario Ortiz, who was teaching at Miami University at the time. The collection consists of 811 cathedral music works (more than 10,000 pages) by different composers from the colonial times. One of the composers is the famous 17th Century Mexican nun and feminist Sor Juan Inés de la Cruz (see her villancico in the list below).
[[Image:Herm.jpg|thumb|left|Image of printed source illustrating poor condition of Guatemala archive]]
[[Image:Herm.jpg|thumb|left|Image of printed source illustrating poor condition of Guatemala archive]]
In 2003, a graduate assistant, hired by the library, performed and completed the scanning of the collection from its original microfilm format into TIFF format. In 2004, John Millard, now Head of the [http://cds.lib.muohio.edu/ Center for Digital Scholarship], reprocessed the TIFF master files and created encoded copies using DjVu —an open source format that allows high-quality of scanned documents to be stored and made available on the web. Ting Gan implemented the current management site in 2005.  Between 2006-2008, Thomas Garcia, professor in the Miami University Department of Music, coordinated a group of students and transcribed selected items. Various fields and methodologies of research can be done on this collection because of its multi-faceted and culturally rich content. The current transcription work available on this site is an excellent example of the type of online collaboration needed to complete the transcription process.
In 2003, a graduate assistant, hired by the library, performed and completed the scanning of the collection from its original microfilm format into TIFF format. In 2004, John Millard and Ting Gan scanned and reprocessed TIFF master files and created encoded copies using DjVu —an open source format that allows high-quality of scanned documents to be stored and made available on the web. Between 2006-2008, Thomas Garcia, professor in the Miami University Department of Music, coordinated a group of students and transcribed selected items. Various fields and methodologies of research can be done on this collection because of its multi-faceted and culturally rich content. The current transcription work available on this site is an excellent example of the type of online collaboration needed to complete the transcription process. The digitized files are available at the [http://conan.lib.miamioh.edu/musica/ Música Colonial Management Site].


If you are interested in collaborating with us, please contact [[User:Etzoc|Elias Tzoc]], project lead for the upcoming Música Colonial Digital Archive scheduled to be launched sometime in 2013. The ultimate project goals include: provide public access to the collection’s original handwritten music score images, enable online collaboration for the transcription process, and create a more readable and aesthetically presentable version of the files with PDF and MIDI formats.
If you are interested in collaborating with us, please contact {{User|Etzoc|Elias Tzoc}}. The ultimate project goals include: provide public access to the collection’s original handwritten music score images, enable online collaboration for the transcription process, and create a more readable and aesthetically presentable version of the files with PDF and MIDI formats.


===Condition of source material===
===Condition of source material===
Line 88: Line 105:
[[Image:Muscol2.jpg|thumb|left|300px|The main collection]]This on line material consisting of some 10,000 pages, is of uneven quality. In some cases the original itself is in poor condition or difficult to read because of fading. In other cases transfer to microfilm has not always been successful and subsequent digitisation of the microfilm has led to further degrading. Much of the material is therefore illegible or legible only with extreme difficulty. Some of the works are incomplete, it seems because pages are missing or have been destroyed or damaged.
[[Image:Muscol2.jpg|thumb|left|300px|The main collection]]This on line material consisting of some 10,000 pages, is of uneven quality. In some cases the original itself is in poor condition or difficult to read because of fading. In other cases transfer to microfilm has not always been successful and subsequent digitisation of the microfilm has led to further degrading. Much of the material is therefore illegible or legible only with extreme difficulty. Some of the works are incomplete, it seems because pages are missing or have been destroyed or damaged.


Modern scanned copies of the original material such as it is can, however, be obtained from the Cathedral Archive.
Modern scanned copies of some of the original material, such as it is can, however, be obtained from the Cathedral Archive.
 
 
 
 
 


===Archives elsewhere in Latin America===


There are musical archives in most Latin American states. See the following [http://www.latinamericanchoralmusic.org/latin-american-music-archives/ general review]. The Metropolitain Cathedral of Mexico have put number of musical manuscripts online [http://musicat.unam.mx/nuevo/adabi.html here]. There is less material than that from Guatemala but the quality of the scans is much better.


===External links===
===External links===


*[http://conan.lib.muohio.edu/musica/ Música Colonial Management Site]
*[http://conan.lib.miamioh.edu/musica/ Música Colonial Management Site]
*[http://dl.acm.org/citation.cfm?id=1065482 Música Colonial: 18th Century Music Score Meets 21st Century Digitalization Technology], a poster by Ting Gan and presented at the 2005 Joint Conference on Digital Libraries.
*[http://dl.acm.org/citation.cfm?id=1065482 Música Colonial: 18th Century Music Score Meets 21st Century Digitalization Technology], a poster by Ting Gan and presented at the 2005 Joint Conference on Digital Libraries.
*[http://mq.oxfordjournals.org/content/LIV/4/475.full.pdf The Afro-American musical legacy to 1800], a published paper by Stevenson
*[http://mq.oxfordjournals.org/content/LIV/4/475.full.pdf The Afro-American musical legacy to 1800], a published paper by Stevenson
Line 105: Line 119:
==List of works available on CPDL==
==List of works available on CPDL==


The following is a list of works from the archive which are included in the Choral Public Domain Library. They represent a tiny proportion of the total. Most of them have been transcribed from the microfilms. Others, well known works (marked with an asterisk *), have been transcribed from other sources).
A list of the works from the archive which are included in the Choral Public Domain Library will be found [http://www.cpdl.org/wiki/index.php/Category:M%C3%BAsica_colonial_scores here] . They represent a tiny proportion of the total. Most of them have been transcribed from the microfilms. Others, well known works, have been transcribed from other sources.


Selection of material for transcription has been influenced not only by musical interest but also by whether the online copies are legible or not. So, for instance, the villancicos of José de Torres are mostly legible, whereas the works of other composers may not be.
Selection of material for transcription has been influenced not only by musical interest but also by whether the online copies are legible or not. So, for instance, the villancicos of José de Torres are mostly legible, whereas the works of other composers may not be.
{|class="wikitable sortable"
|-
! Title
! Composer
! Parts
! Notes
|-
| ''[[Missa quarti toni (Gregorio Allegri)|Missa quarti toni]]'' || {{ss|Gregorio|Allegri}} || 4|| Probably not authentic, but nonetheless a remarkable work
|-
| ''[[Corderito ven (Anonymous)|Corderito ven]]'' || {{ss|Anonymous}} || 4||
|-
| ''[[Christus natus est nobis II (Anonymous)|Christus natus est nobis II]]'' || {{ss|Anonymous}} || 5||
|-
| ''[[Surrexit dominus vere II (Anonymous)|Surrexit dominus vere II]]'' || {{ss|Anonymous}} || 4||
|-
| ''[[Christus natus est (Pedro Bermúdez)|Christus natus est]]'' || {{ss|Pedro|Bermúdez}} || 4||
|-
| ''[[Missa de bomba (Pedro Bermúdez)|Missa de bomba]]'' || {{ss|Pedro|Bermúdez}} || 4|| Parodied from the [[La Bomba (Mateo Flecha el Viejo)|ensalada "La Bomba"]] ("The Pump") by Mateo Flecha el Viejo
|-
| ''[[Pastoras alegres (Rafael Antonio Castellanos)|Pastoras alegres]]'' || {{ss|Rafael Antonio|Castellanos}} || 3||
|-
| ''[[Missa octavi toni (Rodrigo de Ceballos)|Missa octavi toni]]'' || {{ss|Rodrigo de|Ceballos}} ||4 ||
|-
| ''[[Missa tertii toni (Rodrigo de Ceballos)|Missa tertii toni]]'' || {{ss|Rodrigo de|Ceballos}} ||4 ||
|-
| ''[[Missa cum quatuor vocibus (Pierre Colin)|Missa cum quatuor vocibus]]'' || {{ss|Pierre|Colin}} ||4 ||
|-
| ''[[Madre, la de los primores (Juana Inés de la Cruz)|Madre, la de los primores]]'' || {{ss|Juana Inés de la|Cruz}} ||4 ||
|-
| ''[[Auditui meo dabis (José Durán)|Auditui meo dabis]]'' || {{ss|José|Durán}} || 1|| Solo treble to be sung with Miserere
|-
| ''[[Redde mihi laetitiam (José Durán)|Redde mihi laetitiam]]'' || {{ss|José|Durán}} || 1|| Solo treble to be sung with Miserere
|-
| ''[[Ave maris stella (Sebastián Durón)|Ave maris stella]]'' || {{ss|Sebastián|Durón}} || 8||
|-
| ''[[Ay de mí, que el llanto y la tristeza (Sebastián Durón)|Ay de mí, que el llanto y la tristeza]]'' || {{ss|Sebastián|Durón}} ||1 || Mezzo-soprano
|-
| ''[[Negliya que quele (Sebastián Durón)|Negliya que quele]]'' || {{ss|Sebastián|Durón}} || 4|| A "Negrito" in Mexican Creole
|-
| ''[[Con afecto y armonía (Pedro Nolasco Estrada Aristondo)|Con afecto y armonía]]'' || {{ss|Pedro|Nolasco Estrada Aristondo}} || 2|| Uses same text as setting by Torres
|-
| ''[[Salve regina (Sebastián Durón)|Salve regina]]'' || {{ss|Sebastián|Durón}} ||8 || Also known as "Salve de ecos"
|-
| ''[[Lauda Sion (Francisco Escalada)|Lauda Sion]]'' || {{ss|Francisco|Escalada}} ||8 ||
|-
| ''[[A siolos molenos (Gabriel Garcia de Mendoza)|A siolos molenos]]'' || {{ss|Gabriel Garcia de|Mendoza}} || 4|| A "Negrito" in Mexican Creole
|-
| ''[[Un nuevo milagro (Fabián García Pacheco)|Un nuevo milagro]]'' || {{ss|Fabián García Pacheco}} || 8||
|-
| ''[[Válgame dios y que tres (Fabián García Pacheco)|Válgame dios y que tres]]'' || {{ss|Fabián García Pacheco}} || 3|| A Christmas villancico
|-
| ''[[Lamentación de Jeremías (Gerónimo Gonzales)|Lamentación de Jeremías]]'' || {{ss|Gerónimo|Gonzales}} ||8 ||
|-
| ''[[Amantes serafines (Juan Francés de Iribarren)|Amantes serafines]]'' || {{ss|Juan Francés de|Iribarren}} ||4 || Jubilant villancico with horns and violins
|-
| ''[[Missa sobre las voces (Cristóbal de Morales)|Missa sobre las voces]]'' || {{ss|Cristóbal de|Morales}} || 4|| A mass on the Aretine scale (super voces musicales)
|-
| ''Various settings of the Magnificat'' * || {{ss|Cristóbal de|Morales}} || ||
|-
| ''[[Aromática rosa Americana (José de Nebra)|Aromática rosa Americana]]'' || {{ss|José de|Nebra}} ||4 ||
|-
| ''[[Para un triunfo que el orbe (José de Nebra)|Para un triunfo que el orbe]]'' || {{ss|José de|Nebra}} ||8 || Very lively responsory
|-
| ''[[Rompan los vagos espacios (José de Nebra)|Rompan los vagos espacios]]'' || {{ss|José de|Nebra}} ||4 ||
|-
| ''[[Salve regina (José de Nebra)|Salve regina]]'' || {{ss|José de|Nebra}} ||8 ||
|-
| ''[[Missa sine nomine a 4 (Giovanni Pierluigi da Palestrina)|Missa sine nomine a 4]]'' || {{ss|Giovanni Pierluigi da|Palestrina}} || 4|| [http://petrucci.mus.auth.gr/imglnks/usimg/b/bf/IMSLP55913-PMLP115520-Tomus_XI.pdf Score] on IMSLP. A distinct work from the "Missa sine nomine a 4" on CPDL
|-
| ''[[Sancta et immaculata virginitas (S. Panini)|Sancta et immaculata virginitas]]'' || {{ss|S. Panini}} || 2||
|-
| ''[[Una escuela de muchachos (Manuel José de Quirós)|Una escuela de muchachos]]'' || {{ss|Manuel José de|Quirós}} || 4||
|-
| ''[[Missa a cuatro voces (Juan Matias de Rivera)|Missa a cuatro voces]] || {{ss|Juan Matias de|Rivera}} || 4||
|-
| ''[[Missa a 4 de quinto tono punto bajo (Luis Serra)|Missa a 4 de quinto tono punto bajo]] || {{ss|Luis|Serra}} || 4||
|-
| ''[[Aleph. Ego vir videns (José de Torres)|Aleph. Ego vir videns]]'' || {{ss|José de|Torres}} || 1 || Treble solo
|-
| ''[[A el abismo de gracia (José de Torres)|A el abismo de gracia]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo. Final coplas incomplete.
|-
| ''[[Afectos amantes (José de Torres)|Afectos amantes]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo
|-
| ''[[Alienta mortal (José de Torres)|Alienta mortal]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo
|-
| ''[[Ay que favor (José de Torres)|Ay que favor]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo
|-
| ''[[Cercadme flores (José de Torres)|Cercadme flores]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo
|-
| ''[[Con afecto y armonía (José de Torres)|Con afecto y armonía]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo
|-
| ''[[Favor, gracia y pureza (José de Torres)|Favor, gracia y pureza]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo
|-
| ''[[Hermosa blanca nube (José de Torres)|Hermosa blanca nube]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo
|-
| ''[[Reloj que señala (José de Torres)|Reloj que señala]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo
|-
| ''[[Sosiega tu quebranto (José de Torres)|Sosiega tu quebranto]]'' || {{ss|José de|Torres}} || 1 || Soprano or Treble solo. Virtuoso violin part
|-
| ''[[Convite da el amor (José de Torres)|Convite da el amor]]'' || {{ss|José de|Torres}} || 1 || Contralto or male Alto solo
|-
| ''[[La antorcha bella (José de Torres)|La antorcha bella]]'' || {{ss|José de|Torres}} || 1 || Contralto or male Alto solo
|-
| ''[[Pues a sus luces bellas (José de Torres)|Pues a sus luces bellas]]'' || {{ss|José de|Torres}} || 1 || Contralto or male Alto solo
|-
| ''[[Tierno embozado amante (José de Torres)|Tierno embozado amante]]'' || {{ss|José de|Torres}} || 1 || Contralto or male Alto solo
|-
| ''[[Missa a 4 (José de Torres)|Missa a 4]] || {{ss|José de|Torres}} || 4|| Latin text, 8 part Agnus dei II
|-
| ''[[Missa annuntiate nobis (José de Torres)|Missa annuntiate nobis]] || {{ss|José de|Torres}} || 8|| Latin text, violin and oboe accompaniment
|-
| ''[[Regina coeli (José de Torres)|Regina coeli]]'' || {{ss|José de|Torres}} || 5|| Latin text. Attribution doubtful.
|-
| ''[[Veni sancte spiritus (José de Torres)|Veni sancte spiritus]]'' || {{ss|José de|Torres}} ||8 || Latin text
|-
| ''[[Miren que flor (José de Torres)|Miren que flor]]'' || {{ss|José de|Torres}} || 3 || Spanish text. Accompaniment missing
|-
| ''[[A la misteriosa cena (José de Torres)|A la misteriosa cena]]'' || {{ss|José de|Torres}} || 4 || Spanish text
|-
| ''[[Al subir para el empíreo (José de Torres)|Al subir para el empíreo]]'' || {{ss|José de|Torres}} || 4 || Spanish text
|-
| ''[[Arpones dulces (José de Torres)|Arpones dulces]]'' || {{ss|José de|Torres}} || 4 || Spanish text
|-
| ''[[Buena la han hecho (José de Torres)|Buena la han hecho]]'' || {{ss|José de|Torres}} || 4 || Spanish text. Attribution questionable
|-
| ''[[Carta maravillosa (José de Torres)|Carta maravillosa]]'' || {{ss|José de|Torres}} || 4 || Spanish text
|-
| ''[[En obsequios rendidos (José de Torres)|En obsequios rendidos]]'' || {{ss|José de|Torres}} || 4 || Spanish text
|-
| ''[[Miren una gloria (José de Torres)|Miren una gloria]]'' || {{ss|José de|Torres}} || 4 || Spanish text
|-
| ''[[Perlas luces (José de Torres)|Perlas luces]]'' || {{ss|José de|Torres}} || 4 || Spanish text
|-
| ''[[Un reloj (José de Torres)|Un reloj]]'' || {{ss|José de|Torres}} || 4 || Spanish text
|-
| ''[[A la reina del socorro (José de Torres)|A la reina del socorro]]'' || {{ss|José de|Torres}} || 7 || Spanish text
|-
| ''[[Atended reverentes (José de Torres)|Atended reverentes]]'' || {{ss|José de|Torres}} || 8 || Spanish text. Second violin part may be missing.
|-
| ''[[La gloria se admire (José de Torres)|La gloria se admire]]'' || {{ss|José de|Torres}} || 8 || Spanish text
|-
| ''[[Para el mas glorioso triunfo (José de Torres)|Para el mas glorioso triunfo]]'' || {{ss|José de|Torres}} || 8 || Spanish text. Alto part in coplas section lost
|-
| ''[[Sacros deseos (José de Torres)|Sacros deseos]]'' || {{ss|José de|Torres}} || 8 || Spanish text
|-
| ''[[Si el espíritu divino (José de Torres)|Si el espíritu divino]]'' || {{ss|José de|Torres}} || 8 || Spanish text
|-
| ''[[Missa Ave maris stella (Tomás Luis de Victoria)|Missa Ave maris stella]]'' * || {{ss|Tomás Luis de|Victoria}} || ||
|-
| ''[[Missa O quam gloriosum (Tomás Luis de Victoria)|Missa O quam gloriosum]]'' * || {{ss|Tomás Luis de|Victoria}} || ||
|}

Revision as of 16:58, 7 December 2021

Cathedral, Antigua, Guatemala

(Page maintained by Jonathan Goodliffe)

Introduction

Note: a full list of cpdl scores transcribed from the archive may be found here.

The Música Colonial Archive is an archive of manuscript and printed music originally held at the cathedral in Antigua, Guatemala's former capital city. The archive is now held at the cathedral in Guatemala City, the current capital. Some of the works have been transcribed and some of the transcriptions are available on CPDL. See LIST here.

The works date from the 16th to the 18th centuries. A large number of works from the archive have been microfilmed. The microfilm versions, or some of them, have in turn been digitised and are on line at the Música Colonial Management Site, hosted by Miami University Libraries. Musicologist the late Robert Stevenson has carried out considerable research work on the archive. He has transcribed a large number of works included in it. In so doing he appears to have had access to the originals and to many works not included in the Música Colonial Management Site.

Composers represented in the archive

Most of the composers represented in the archive are of Spanish origin. A small number originate from other European countries and from what are now independent Latin American states. In some cases the identity or nationality of the composer cannot be determined. The archive includes works for which there may be no other source. These include Morales' "Missa sobre las voces" and Ceballos' "Missa octavi toni".

A list of some of the composers follows.

Música Colonial Digital Archive

The archivist, Luis Herrera

The Música Colonial project —at Miami University in Oxford, Ohio— is an initiative to preserve, digitize, and provide online access to mostly handwritten and some printed Colonial times cathedral music scores. The scores have mostly Spanish lyrics with some works in Latin. The collection is in microfilm format. It is archived at the Mesoamerican Center for Regional Research (CIRMA) located in Antigua, Guatemala.

Image showing poor reproduction of many items in the Guatemala archive

The collection was borrowed from CIRMA and brought to the Miami University Libraries in Spring 2002 by professor Mario Ortiz, who was teaching at Miami University at the time. The collection consists of 811 cathedral music works (more than 10,000 pages) by different composers from the colonial times. One of the composers is the famous 17th Century Mexican nun and feminist Sor Juan Inés de la Cruz (see her villancico in the list below).

Image of printed source illustrating poor condition of Guatemala archive

In 2003, a graduate assistant, hired by the library, performed and completed the scanning of the collection from its original microfilm format into TIFF format. In 2004, John Millard and Ting Gan scanned and reprocessed TIFF master files and created encoded copies using DjVu —an open source format that allows high-quality of scanned documents to be stored and made available on the web. Between 2006-2008, Thomas Garcia, professor in the Miami University Department of Music, coordinated a group of students and transcribed selected items. Various fields and methodologies of research can be done on this collection because of its multi-faceted and culturally rich content. The current transcription work available on this site is an excellent example of the type of online collaboration needed to complete the transcription process. The digitized files are available at the Música Colonial Management Site.

If you are interested in collaborating with us, please contact Elias Tzoc. The ultimate project goals include: provide public access to the collection’s original handwritten music score images, enable online collaboration for the transcription process, and create a more readable and aesthetically presentable version of the files with PDF and MIDI formats.

Condition of source material

The main collection

This on line material consisting of some 10,000 pages, is of uneven quality. In some cases the original itself is in poor condition or difficult to read because of fading. In other cases transfer to microfilm has not always been successful and subsequent digitisation of the microfilm has led to further degrading. Much of the material is therefore illegible or legible only with extreme difficulty. Some of the works are incomplete, it seems because pages are missing or have been destroyed or damaged.

Modern scanned copies of some of the original material, such as it is can, however, be obtained from the Cathedral Archive.

Archives elsewhere in Latin America

There are musical archives in most Latin American states. See the following general review. The Metropolitain Cathedral of Mexico have put number of musical manuscripts online here. There is less material than that from Guatemala but the quality of the scans is much better.

External links

List of works available on CPDL

A list of the works from the archive which are included in the Choral Public Domain Library will be found here . They represent a tiny proportion of the total. Most of them have been transcribed from the microfilms. Others, well known works, have been transcribed from other sources.

Selection of material for transcription has been influenced not only by musical interest but also by whether the online copies are legible or not. So, for instance, the villancicos of José de Torres are mostly legible, whereas the works of other composers may not be.