RESUMENEl equipo de la UAH viene desarrollando sucesivos proyectos de valoración patrimonial en el Tajo Internacional centrados en la cultura megalítica.Nuestras prospecciones a partir de la exposición teóri-ca de un modelo predictivo que considera la presencia de pinturas al aire libre, hacen de la Sierra de San Pedro uno de los más importantes conjuntos de la pintura esquemáti-ca de la Península Ibérica. Su desarrollo paralelo a los yacimientos con grabados al aire libre del Tajo Internacional dibuja un complejo entramado de símbolos con un importante papel en la definición de los territorios megalíticos.La identificación de figuras paleolíticas coincide con recurrencias similares documentadas en los yacimientos al aire libre del occidente peninsular, apuntando al recurso al pasado como uno de los argumentos de reivindicación y uso de territorios tradicionales.
ABSTRACT
The history of the Spanish musical press in the eighteenth century has usually been interpreted as an ongoing struggle against a narrow and underdeveloped market. Print itself has been seen as a superior technology that helps to secure stability and clarity of the musical text. In this light, José de Torres, prestigious organist and composer, music director of the Spanish Chapel Royal from 1720 and owner of an important musical press, has appeared to be a heroic modernizing figure. This article challenges this received image, underlining the effectiveness of censorship and the control of individual initiatives in the field of music publishing in early eighteenth-century Spain. This is demonstrated by newly discovered documents concerning a lawsuit brought against Torres, who owned a royal printing privilege from 1700 until his death in 1738, by Francisco Díaz de Guitián, who wanted to establish a music press of his own. Several musicians acted as witnesses, giving a detailed view of how the music press worked at the time, notably how the approbations customarily given by established musicians on behalf of music treatises intended for publication were used to promote or block a career. Based on these new insights, a general study of all the known prints by the Imprenta de Música is presented in a broader editorial, political and cultural context.
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