Arturo Tello Ruiz-Pérez

Complutense University of Madrid | UCM · Department of Musicology

En el escenario general de la canción litúrgica, este trabajo tiene por objeto arrojar luz sobre algunos aspectos de la tradición litúrgica, musical y literaria de las epístolas farcidas contenidas en manuscritos españoles. Está claro que el Codex Calixtinus es un testimonio particular en múltiples facetas, entre las cuales como unicum se sitúa Can...

Under a spirit characterized by having many dimensions and covering various disciplines from Musicology to Liturgy History, through Philology, Theology, Art History, etc., this doctorate thesis intends to affect the main planning and problems which emerge when one must face the study of migrations in the chant during the Middle Ages. Therefore its...

This article aims to elucidate the origin of the merchant scene within the Easter drama, which can, by extension, be interpreted as representative of the entire Visitatio Sepulchri. Given that the troper-proser Vic 105 is the oldest attestation of the scene, we have used this manuscript as our starting point. Through a critical edition of the first...

Based on the fervor and devotion of the Virgin of the Girdle of Tortosa—which gained a strong establishment from the 17th century onwards—this article explores the possibility of a cause-effect relationship between the apparition of the Virgin in the cathedral in 1178 and the Marian appendix contained in the troper-proser E-TO 135 (c. 1228–1264). B...

La secuencia es una clase de canto medieval que, situada por regla general entre el Alleluia y el Evangelio de la misa, fue empleada para festividades particulares en el seno de la liturgia franco-romana. Sin tener un carácter universal y preceptivo, estilísticamente tampoco puede decirse que pertenezca al repertorio gregoriano “clásico”, aunque es...

Todo el mundo conoce el Camino de Santiago y el Codex Calixtinus. Santiago de Compostela fue (y sigue siendo) uno de los más importantes centros de peregrinación de la Cristiandad, junto a Tierra Santa y Roma, durante toda la Edad Media y más allá. Por el mismo hecho de que tanto el Camino como el Codex hayan contribuido a la construcción de la ide...

Comparing a species of codex such as the troper-proser with Cluniac charisma might at first seem somewhat contradictory. Cluny has been understood in criticism to have systematically opposed the addition of any extra-official compositions (tropes and sequences) to the liturgy and as a model of splendor and solemnity in medieval chants. Through the...

With the aim of investigate the causes to understand the effects, at least as a premise, this paper presents some short reflections on what parameters are more or less constant in the musical repertoire of medieval Hispanic kingdoms. Thus, love (also the fervour) is taken as authentic driving force and guide of creativity, with special emphasis sin...

Review of GÓMEZ, Maricarmen (ed.). Historia de la Música en España e Hispanoamérica. Vol. 1: De los orígenes hasta c. 1470. Madrid, Fondo de Cultura Económica de España, 2009. 390 pp. ISBN 978-84-375-0636-4

With the aim of investigate the causes to understand the effects, at least as a premise, this paper presents some short reflections on what parameters are more or less constant in the musical repertoire of medieval Hispanic kingdoms. Thus, love (also the fervour) is taken as authentic driving force and guide of creativity, with special emphasis sin...

In the general field of cultural exchanges during the Middle Ages, this paper reasonably aims to review the more substantial repertoire of tropes and sequences in the church of Toledo, from its reinstatement in 1086 to the 16th century. How was the liturgical expression of the trope in Toledo? Where did it come from? What were traditions involved i...

Taking the relationship between cultural transfers and musicology as a starting point, the Kyrie trope, Deus solus et immensus, is an extraordinary case-study in the historical context of local exchanges produced in the repertoire of the liturgical song. Beyond the philological-musical research, the main stylistic patterns of transmission (readings...

In a field of study largely determined by orality, in regard to creation / recreation, performer / audience, memory / transmission, voice / notation, etc., this paper aims to shed light on aspects of epic poetry from a musicological perspective (although not dissociated from Philology and other disciplines), paying particular attention to what has...

Using one of the earliest-known examples of trope (Laus tua Deus), conserved in the early-twelfth century troper from Girona (Paris Bibl. Nat. n. a. lat. 495), this article aims to give a practical description of the problems posed by a repertory of the nature of the Gloria tropes. In this respect, the transmission, characteristics and, ultimately,...

With the aid of a series of representative examples, the objective of this article is to highlight the connections between the teaching of, and speculation about, disciplines including grammar, rhetoric and biblical exegesis, and the creation, transmission and assumption of new "extra-official" liturgical repertories at different moments and places...

With no doubt, one of the main problems in the history of the trope has been the present-day terminology. From the most meaningful attempts (which take account of a perspective which can be purely historical, practical, aesthetical, philological, musical or liturgical), the question of «genre» in the medieval world urges an answer, which may compre...

Diccionario de la Música Española e Hispanoamericana (DMEH) I. History. II. Hispanic Sources and Repertoires. III. Melodic Tropes. IV. Textual Tropes. V. Textual and Musical Tropes I. Historia. II. Fuentes y repertorios hispánicos. III. Tropos melódicos. IV. Tropos textuales. V. Tropos textuales y musicales