Ferdinand of Aragon's entry into Valladolid in 1513: The triumph of a Christian king

Knighton, Tess; García, Carmen Morte

doi:10.1017/s0261127900001856

Cited by 7 publications

(2 citation statements)

References 6 publications

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“…10 Beginning with Strohm's seminal study (1990) on the soundscape in the city of Bruges, many researchers have contributed to and broadened this field of study, focusing on royal celebrations. The following is a brief listing of the studies of this kind that we found most useful: Kreintner, 1990;Ros-Fábregas, 1995;Carreras, 2000;Knighton and Morte, 1999;Raventós, 2006;Bejarano, 2009. 11 See, concerning ephemeral art: Soto Caba, 1994 , fol.…”

Section: Notesmentioning

confidence: 99%

Public Celebrations, the Other, and Emotional Responses. New approaches to the Iberian Royal entries in the Middle Ages and the Early Modern Period

Llopis

Orts-Ruiz²

2022

Cult. Hist. Digit. J.

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Traditionally, when dealing with the study of urban celebrations in the Middle and Early Modern periods, historiography has accepted the concept of Gesamtkunstwerk to point out the magnificence and diversity of artistic expressions that were part of these ephemeral events. Without totally opposing this idea, reinforced by methodological currents such as the history of emotions, this paper aims to reflect on the concept of urban celebrations. We will provide new perspectives in the study of these performances, especially their short-lived nature, which prevented the people from having access to all the acts and messages that involved these events. To this end, we propose a new approach to documentary and literary sources, from the point of view of the analysis of the Muslim other. We study its visual representation as well as its role as a spectator and active participant, especially as a dancer or musician. This allows us to present a new methodological framework using Valencia as a case study.

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Section: Notesmentioning

confidence: 99%

Public Celebrations, the Other, and Emotional Responses. New approaches to the Iberian Royal entries in the Middle Ages and the Early Modern Period

Llopis

Orts-Ruiz²

2022

Cult. Hist. Digit. J.

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“…'traditionally falls outside the focus of studies of ceremonial entries'. 26 Thus this essay may also contribute to a history of music within late medieval (joyous, ceremonial, triumphal, etc.) entries -music actually performed and music as represented -that remains to be written, 27 notwithstanding the scarcity of information provided by chronicles and other sources as the basic obstacle.…”

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confidence: 99%

A Feast of the Arts: Joanna of Castile in Brussels, 1496

Tammen

2011

Early Music History

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As the only late fifteenth-century picture book devoted to a ‘joyous entry’, inv. 78.D.5 of the Staatliche Museen zu Berlin – Kupferstichkabinett is a source of singular importance, conveying a total of twenty-seventableaux vivantsstaged for Joanna of Castile (‘the Mad’) on the occasion of her entry into Brussels, 15 December 1496, as duchess of Brabant. The present contribution focuses on two tableaux with musical subject matter, consciously displayed at the very beginning and at the very end: Jubal and Tubalcain, the biblical inventors of music, on the one hand, and St Luke portraying the Virgin Mary with Child, enriched by the means of angelic musicians, on the other. Besides iconographic issues, special emphasis is placed on Joanna, her musical inclinations, and the respective institutional background: whereas the St Luke tableau contributes to the corporate identity of Brussels's painters' guild, the biblical inventor of music allows for the self-presentation of the rhetoricians, who were in charge of ‘programming’ the joyous entry and its festive apparatus. In sum, political messages have been musically disguised; uncommon biblical or even extra-biblical subjects become vehicles for a complex layer of meaning that permeates the public space.

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‘Remplis l’air d’alegresse pour ce seigneur chery des cieux’: Music in the Entries of Nobility and Other Dignitaries in Late Renaissance France (c.1585–c.1615)

Robinson¹

2021

J. R. Music. Assoc.

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Although royal entries have long been studied by scholars, those undertaken by nobles and other political figures have generally attracted less attention. This is particularly true in musicological literature, a fact undoubtedly attributable to the paucity of surviving documentation on this topic. Yet music often played an important part in these spectacles, both by underlining the dignitary’s status and by enhancing key components of the symbolism deployed. Rather than concentrating on one particular event, this article brings together information about as many entries as possible made by such figures into French cities in the late sixteenth and early seventeenth centuries. This enables us to make general observations about the types of music used in these events (such as fanfares, Te Deums and dance music) in order to draw possible connections with extant musical sources, and also to ponder why certain musical elements mattered more than others to the contemporaries describing these occasions.

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Ferdinand of Aragon's entry into Valladolid in 1513: The triumph of a Christian king

Cited by 7 publications

References 6 publications

Public Celebrations, the Other, and Emotional Responses. New approaches to the Iberian Royal entries in the Middle Ages and the Early Modern Period

Public Celebrations, the Other, and Emotional Responses. New approaches to the Iberian Royal entries in the Middle Ages and the Early Modern Period

A Feast of the Arts: Joanna of Castile in Brussels, 1496

‘Remplis l’air d’alegresse pour ce seigneur chery des cieux’: Music in the Entries of Nobility and Other Dignitaries in Late Renaissance France (c.1585–c.1615)

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