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German Jews and Figurative Art: Appreciation and Reservation

Joseph Shatzmiller

in Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace

This chapter briefly reviews the art history from 1230–1450 CE in order to better understand the cultural profile of the rabbi, and to evaluate the contribution of the wall paintings in his house as ... More

This chapter briefly reviews the art history from 1230–1450 CE in order to better understand the cultural profile of the rabbi, and to evaluate the contribution of the wall paintings in his house as indications of the artistic horizons of German Jews of the fourteenth century. It also shows how Jews had to abandon the art that they cherished for generations, yet they found ways to keep alive their fascination with the beautiful and to nurse their aesthetic needs. The interior synagogue of Santa Maria la Blanca of Toledo and that of the recently reconstructed Sinagoga Mayor of Segovia manifest a profound attachment to Islamic public architecture. Jews showed great appreciation for the decorative value of their Hebrew alphabet. They also learned to paint inanimate or geometric images in miniature letters on the covers of their Bibles.Less

Local antiquities in Spain: from Tarragona to Córdoba

Fernando Marías

in Local antiquities, local identities: Art, literature and antiquarianism in Europe, c. 1400–1700

The study of Local Roman Antiquities developed in Spain from the end of the 15th Century focusing on the ancient remains of Roman cities as Mérida, Segovia, Murviedro and Tarragona. Foreign and ... More

The study of Local Roman Antiquities developed in Spain from the end of the 15th Century focusing on the ancient remains of Roman cities as Mérida, Segovia, Murviedro and Tarragona. Foreign and Spanish scholars contributed with field research and drawings, and architects tried to dig up the past of their respective towns through excavation and interpretation of the architectural remains, and to put into practice what they thought could have been their own local Roman models as well. Córdoba, the ancient Roman Baetica and Umayyad capital is one of our best examples for studying the way its architecture, orders and ornate could have been analysed and interpreted, and how its architects could use Roman and Umayyad models, by the end of the 16th Century, for their modern local buildings.Less

ACT I Scene ii Madrileño 1891–1932

Walter Aaron Clark and William Craig Krause

in Federico Moreno Torroba: A Musical Life in Three Acts

This scene delves into Torroba's identity as a citizen of Madrid. It commences with an interview Torroba gave at the end of his life, which provides the basis for exploring his identity as a ... More

This scene delves into Torroba's identity as a citizen of Madrid. It commences with an interview Torroba gave at the end of his life, which provides the basis for exploring his identity as a madrileño. The scene presents a history of the city from its origins to the year in which Torroba was born, 1891. It is also concerned with a sense of place and discusses the immediate cultural environs of Madrid in that year, especially the socioeconomic importance of the Puerta del Sol and the nearby cultural monuments, museums, churches, and theaters of historic importance,. It traces Torroba's footsteps through his early education, first compositions, military service, rise as a leading composer of zarzuela, works for the guitar, and his reaction to the dramatic events of the early twentieth century in Spain. It concludes with the premiere of his greatest hit, Luisa Fernanda, at the Teatro Calderón.Less

ACT III Scene iii Major Works of the Period 1960–82

Walter Aaron Clark and William Craig Krause

in Federico Moreno Torroba: A Musical Life in Three Acts

There is a marked decline in Torroba’s output for the stage in the 1960s and 70s, and his final effort in this arena is an opera, El poeta (1980). This work was not successful, and the analysis ... More

There is a marked decline in Torroba’s output for the stage in the 1960s and 70s, and his final effort in this arena is an opera, El poeta (1980). This work was not successful, and the analysis suggests some reasons why. Indeed, the distinguishing characteristic of this late period is the predominance of guitar works, particularly concertos for one, two, or four guitars. These were not written for or performed by Segovia but rather by a younger generation of performers, particularly the Romero Guitar Quartet, which premiered, recorded, and/or commissioned several works, including the Concierto ibérico and Diálogos entre guitarra y orquesta. Solo works composed for Segovia also figure prominently, including the two sets of Castillos de España and Puertas de Madrid. These works are examined in this scene.Less

Crypto-Muslims in the Lands of the Crowns of Castile and Aragon, 1525–1560

in Muslims in Spain, 1500 to 1614

The earliest example of the Inquisition concerning itself directly with the converts from Islam in Old Castile can be seen in an Inquisitorial inspection of 1523 that took place in Segovia. ... More

The earliest example of the Inquisition concerning itself directly with the converts from Islam in Old Castile can be seen in an Inquisitorial inspection of 1523 that took place in Segovia. Assimilation was to be achieved in Segovia by moving the newly converted out of the districts that had, toward the end of the Middle Ages (in the early 1480s) been designated as morer´ıas, and forcing them to live only in houses where they would have as their next-door neighbors reliable Old Christians. Social engineering of this kind is rarely popular. It was probably doubly unwelcome among the ex-Muslims because only a generation or so earlier, in Segovia, when they had been obliged to move into the morer´ıa, they had lost money on the consequent enforced property transactions.Less

The Old World Reclaims Its instrument

Jeffrey J. Noonan

in The Guitar in America: Victorian Era to Jazz Age

This chapter, which focuses on the impact of the emergence of a new generation of European guitarists on the history of the guitar in America, explains that during the early 1900s, the European ... More

This chapter, which focuses on the impact of the emergence of a new generation of European guitarists on the history of the guitar in America, explains that during the early 1900s, the European guitar scene was dominated by three Spanish players including Miguel Llobet, Emilio Pujol, and Andres Segovia. It discusses the contribution of these guitarists in liberating the guitar not only from America’s mandolin and banjo ensembles but also from the musical and social constraints that had relegated the guitar to roles and repertoires based on late nineteenth-century prejudices, techniques, and repertoires.Less

Learning the Fingerboard

Christopher Berg

in The Classical Guitar Companion

“Learning the Fingerboard” presents the means for students to understand the logic of the guitar fingerboard and master its grammar so they will be able to understand more easily and quickly the ... More

“Learning the Fingerboard” presents the means for students to understand the logic of the guitar fingerboard and master its grammar so they will be able to understand more easily and quickly the musical language used by composers. Unlike the piano, which has one location for each note, guitarists can play the same scale, chord, or cadence, in multiple locations. The Segovia scales, however—which are widely used for foundational work—don’t cover large areas of the guitar fingerboard. This section begins with the study of open-position major and minor scales and their associated cadences, major and minor moveable scale forms and related chords, and major and minor long scales, which traverse the length of the fingerboard. Harmony is studied through the working out of triads on each of the four sets of three adjacent strings. The section ends with the first modern edition of cadences in commonly used positions for each key by Franz Bathioli.Less

A Return to the Text

Troels Engberg-Pedersen

in John and Philosophy: A New Reading of the Fourth Gospel

The chapter provides an overview of leading scholarship on John since 1907. The important figures are Wrede, Wellhausen, Schwartz, Bultmann, Dodd, Barrett, Brown, Martyn, Culpepper, Segovia, Frey, ... More

The chapter provides an overview of leading scholarship on John since 1907. The important figures are Wrede, Wellhausen, Schwartz, Bultmann, Dodd, Barrett, Brown, Martyn, Culpepper, Segovia, Frey, and Schnelle. Developments of Johannine scholarship are analysed in terms of Thomas Kuhn’s notion of paradigm shifts, but the analysis also highlights an intrinsic logic of the developments within and beyond historical criticism, where the latter is seen as focusing on Literarkritik (source criticism), Religionsgeschichte (history of religion), and the Johannine community. Narrative criticism and intercultural criticism are placed along the trajectory. A narrative philosophical approach is presented which draws on insights from narrative criticism and combines them with a focus on questions that are de facto philosophical pertaining to ontology, cosmology, epistemology, and ethics. The chapter ends by presenting the overall theory of the divine plan concerning Jesus and his addressees.Less