Manuel Lafarga Marqués

Conservatorio Superior de Música "Joaquín Rodrigo" de Valencia · Pedagogy

Giorgio de Castelfranco, llamado Giorgione, era el personaje central a cuyo alrededor Paolo Caliari estructuró en origen la disposición del grupo instrumental de Las Bodas de Caná. Para ello se sirvió de un diseño basado en un consort vocal junto a Giorgione y su laúd, acompañado de sí mismo al clavicémbalo. La escena incluía también algunos laúde...

De la observación de las imágenes de rayos-X obtenidas con motivo de la restauración del lienzo Las Bodas de Caná de Paolo Caliari, se desprende la evidencia de que el rostro representado debajo del violagambista hasta ahora desconocido — Diego Ortiz — que se halla detrás del autor es el de Giorgio de Castelfranco, modelo y paradigma de la Escuela...

This paper completes and carries on the analysis in our previous work regarding the biography and identity of Diego Ortiz, maestro de capilla of the Neapolitan court, who was portrayed by Paolo Caliari, assuming a prominent role beside him in his monumental canvas The Wedding of Cana (1563), while at time the former protagonist of the central music...

Alessandro Vittoria portrayed a large number of relevant contemporary characters in stone there in Venice, and at the same time, he was also portrayed by distinguished artists and friends. One of them, Paolo Caliari, included him in his formidable Wedding at Cana (1563) canvas, along with tens of Venetian and international authorities, renowned loc...

El gigantesco lienzo del Veronés para la congregación de San Giorgio Maggiore acabó siendo, durante los quince meses que tardó en completarse, una empresa bastante accidentada sobre un andamio muy transitado: había sido encargado por los monjes venecianos pocos meses después de comenzar la última convocatoria del Concilio de Trento, y fue entregado...

The successive musical consorts that are observable through the analysis of the Veronese’s canvas The Wedding at Cana (1563) were transformed from one to another through a graphic-evolutionary process, both in terms of their nature and their instrumental configuration. The authors present here, and illustrate graphically, a documented model that ac...

Giorgio de Castelfranco y los violines perdidos de Las Bodas de Caná del Veronés (1563). Tercer y Cuarto Consorts. La causa de la aparición de instrumentos “de tránsito” (violines) en brazos del Veronés, antes de la resolución del consort definitivo como uno de violas da gamba, hay que buscarla entre las prácticas de las escuelas musicales de los m...

Historical reconstruction of the brass instruments present at the Wedding of Cana by Paolo Caliari, the Veronese, based on the findings of the X-ray studies of the canvas carried out in the 90s.

Diego Ortiz, the Spanish maestro de cappella of the Naples’ Viceregal Court, seems to be portrayed next to Paolo Caliari Il Veronese in his famous canvas The Wedding at Cana, which was delivered with some delay to Benedictine abbey of San Giorgio Maggiore, on October 6th of 1563. Several evidences allow us to conjecture his presence: the obvious re...

How Paolo Caliari buried the great master Giorgione for a second time under the colors of his palette, and the swings of the protagonists of the monumental work that marveled Europe for centuries. The work recounts, in a literary tone, the rugged and laborious remodeling of the central scene of the painting from its beginnings to the providential a...

We are proposing that the Spanish musician Diego Ortiz is represented in Paolo Veronese’s famous mannerist picture The Wedding at Cana. Specifically, we suggest that he is the person who seems to be making comments to Veronese, as the conductor of a viola da gamba ensemble. Presumably, the author of the picture represents the musician as one of the...

No source explicitly supports the assumption that Greeks and Romans did not practice polyphony, nor does any surviving source point to the contrary. The second remark of Girolamo Mei remains in force nowadays: in contemporary pagan sources this fact isn’t mentioned, nor is it in Christian contemporary or later sources after the fall of the pagan wo...

Research during last decades has shown that neanderthal and heidelbergensis cognitive, symbolic, auditory-vocal, linguistic, and musical abilities were undervalued. Isolated tools and bone analysis cannot explain all we call " culture " , and the data deluge from multiple disciplines seems to converge in an " evolutionary boundary " 1.000 Ky. At th...

Musical woodwind instruments made with multiple pipes have a well-known existence from early in Antiquity: double pipes (aulos, arghoul and flutes) from the pharaons’ times and even before in Mesopotamia, and the bagpipes at least from Alexander’s time. The presence of triple pipes is so confirmed around viii century BC, along the Middle Ages until...

Musical woodwind instruments made with multiple pipes have a well-known existence from early in Antiquity: double pipes (aulos, arghoul, and flutes) from the pharaons’ times and even before in Mesopotamia, launeddas and other oriental harmonic designs (sheng, khaen, and others) from the first millennium BC, and the bagpipes at least from Alexander’...

The surviving information about musical performance in the classical times, related both the literary fonts and the existing numerous instruments in a strongly “musical” world, as the Hellenic and Greco-Roman was, is really poor and fragmentary. This situation results especially notable for some instruments that could produce simultaneous sounds wh...

The paper reviews the role of the auletes in the classical world: its education, schools, contests and festivals, religious and funeral life, military, civil, and ludic events and social recognition involved them. In addition it exposes their functions in dramatic-musical spectacles. / El artículo revisa el papel desempeñado por los auletas en el m...

The findings of a 42.000-years-old flute that is atributted to Neanderthal man and which may produce diatony, and those of a certain numbre of 35.000-years-old Cromagnon ‘s tubular flutes, and some more recent 9.000-years-old, both producing this scale type in some cases, confirms that diatony perception (tones and semitones) is a universal constan...

En las últimas décadas y a todo alrededor del mundo, la psicología ha inspirado buena parte de la filosofía de la educación, en busca de una base científica firme sobre la cual construir aquéllo que se quiere enseñar. De esta forma, se han ido incorporando nuevos contenidos (p.e. la música) y hasta categorías nuevas de contenidos (como son los cont...

El artículo describe brevemente, hasta alrededor de los 5 años de edad, algunas de las investigaciones llevadas a cabo en las dos últimas décadas en los EE.UU., acerca del desarrollo de la canción infantil especialmente la del Harvard Project Zero, revisada en detalle por varios autores de habla inglesa. Se detallan algunos estudios importantes en...

En: Música y educación : revista trimestral de pedagogía musical Madrid 2001, n. 46, junio ; 15-22 La motricidad, y en especial la motricidad fina, constituye una contribución fundamental en el mundo del quehacer musical. La coordinación motora de brazos, piernas, y más específicamente, de los dedos de ambas manos, abarca prácticamente todos los as...

En: Música y educación : revista trimestral de pedagogía musical Madrid 2002, v. XV, 2, n. 50, junio ; p. 27-37 El artículo describe de modo preciso y riguroso, si bien básico y general, la naturaleza del sonido y de su percepción, en sus aspectos físicos (ondas y fenómenos vibratorios), biológicos (audición en otras especies), anatómicos (anatomía...