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* Drew Edward Davies (dedavies@northwestern.edu) is Associate Professor of Musicology and Director of Graduate Music Studies at Northwestern University and a specialist in the music of Spain and colonial Mexico. Among his publications are Santiago Billoni: Complete Works (A-R Editions, 2011) and Catálogo de la Colección de Música del Archivo Histórico de la Arquidiócesis de Durango (Universidad Nacional Autónoma de México, 2013).
[1] Geoff Baker, “Latin American Baroque: Performance as a Post-Colonial Act?” Early Music 36, no. 3 (August 2008): 441–48; and Drew Edward Davies, “Nationalism, Exoticism, and Colonialist Appropriation: The Historiographic Decontextualization of Music from New Spain,” in Latin American Choral Music: Contemporary Performance and the Colonial Legacy, ed. Janet Sturmann, http://web.cfa.arizona.edu/sturman/CLAM/Pub1/Davies1.html. Among the recordings I refer to are Ex Cathedra, Fire Burning in Snow, Hyperion Records CDA 67600 (2008); and Florilegium, Bolivian Baroque Vol. 2: Music from the Missions and La Plata, Channel Classics CCS SA 24806 (2007).
[2] Bernardo Illari, “Polychoral Culture: Cathedral Music in La Plata (Bolivia), 1680–1730” (Ph.D. diss., University of Chicago, 2001).
[3] The Bolivian Virgin of Guadalupe is directly linked to the Extramaduran devotion founded in late Medieval Spain and is doctrinally, ritually, and iconographically distinct from the Mexican Virgin of Guadalupe, which is more familiar to North American readers.
[4] On page 57 Eichmann incorrectly tallies these numbers as 25, 46, 100, 31, 10, and 16.
[5] Andrés Eichmann Oehrli, ed., Letras humanas y divinas de la muy noble Ciudad de la Plata (Bolivia) (Madrid: Iberoamerica; Frankfurt: Vervuert, 2005).
[6] Two important exceptions from Mexico are Obras completas de Sor Juana Inés de la Cruz, vol. 2: Villancicos y letras sacras, ed. Alfonso Méndez Plancarte, 4 vols. (Mexico City: Fonda de Cultura Económica, 1952) and Fernán Gonçalvez de Eslaua, Libro segvndo, de las canciones, chançonetas y villancicos a lo diuino, ed. Sergio López Mena (Mexico City: Instituto de Investigaciones Filológicas–Universidad Nacional Autónoma de México, 2003). A useful edition of mostly eighteenth-century villancico texts from Spain is Alfonso Medina Crespo, Villancicos barrocos en la Catedral de Jaén (Jaén: Ediciones Blanca, 2008).
[7] GRISO is a long-standing workgroup that has published critical editions of Spanish literature, principally from the seventeenth century. A summary of its editorial conventions can be consulted at http://www.unav.es/griso/docs/lineas/normas/principal.html.
[8] Fire Burning in Snow, liner notes, 14.
[9] Biblioteca Nacional de España (E-Mn), R/34988/21, Villancicos qve se han de cantar en la Real Capilla de sv Magestad, la noche de Navidad de este año de MDCLXXXV, where it appears as the seventh of seven villancicos; and VE/1309/59, Letras de los villancicos que se cantaron en los…Maytines…de…Reyes, en esta…Metropolitana…Iglesia de Sevilla este año de 1690, where it appears as the fifth of nine villancicos with music attributed to Seville chapelmaster Diego José de Salazar (d. 1709).
[10] Illari, “Polychoral Culture,” 452.
[11] Tess Knighton and Álvaro Torrente, eds., Devotional Music in the Iberian World (Aldershot: Ashgate, 2007), 3.
[12] “El códice de Oaxaca, que aquí denomino Cancionero Musical de Gaspar Fernandes…”Aurelio Tello, ed., Cancionero musical de Gaspar Fernandes, tesoro de la música polifónica en México, 10 (Mexico City: Centro Nacional de Investigación, Documentación e Información Musical, 2001), xix. The manuscript was first mentioned, but without its Cancionero title, in Robert Stevenson, Renaissance and Baroque Musical Sources in the Americas (Washington: Organization of American States, 1970), 193–204.
[13] Danièle Becker, Emilio Rey and Benjamín Yépez, “Cancionero,” in Diccionario de la música española e hispanoamericana, ed. Emilio Casares Rodicio, 10 vols. (Madrid: Sociedad General de Autores y Editores, 1999), 3:29–40.