Santa Eulalia - Guatemala PDF

'vo,76
OF
SANTA EULALIA M. MD. 7: A CRITICAL EDITION AND STUDY
NORTHWESTERN GUATEMALA
SACRED PART MUSIC FROM COLONIAL
THESIS
of the
Presented to the Graduate Council
Partial
North Texas State University in
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
E.
Sheila Raney Baird, B. M.
Denton, Texas
May, 1981
7: A Critical Edition
Baird, Sheila Raney, Santa Eulalia M. Md.
Guatemala.
and Study of Sacred Part Music from Colonial Northwestern
226 pages, 3 tables, 22 photo-
Master of Music (Musicology), May, 1981,
87 titles.
graphic plates, 21 figures, bibliography,
1600, is part of the
Santa Eulalia M. Md. 7, dated January 20,
northwestern high-
San Miguel Acatan Repertory ,which originated in the
the Lilly Library of Indi-
lands of Guatemala and is presently owned by
ana University. The manuscript contains thirty-four four-part songs

Christmas, Easter,
and dances, two thirds of which are villancicos for
and St. Michael. The re-
the Eucharist, and the feasts of All Saints
in either fabordon or
maining third consists of Latin biblical texts
texts, and an instru-
contrapuntal settings, three pieces with Nhuatl
mental pavana.
Eulalia M. Md. 7
The thesis contains a modern edition of Santa
of the pieces with
with critical notes and commentary, a comparison
and a survey of several
villancicos and fabordones of European origin,
aspects of Mayan culture.

O Copyright by
Sheila Raney Baird
1980
iii
TABLE OF CONTENTS
Page
LIST OF FIGURES . . . ....................... vi
LIST OF PLATES.. ........................-.--...... vii
LIST OF TABLES.. ........................ viii
LIST OF TRANSCRIPTIONS..............................ix
Chapter
I. INTRODUCTION . . . . . . . . .
...-.......-.-...-.-.-.-1
The San Miguel Acatan Repertory

Geography of Highland Guatemala
Religion and Government in the Cuchumatgn Region
II. STRUCTURE AND FORM OF THE PIECES IN

SANTA EULALIA M. MD. 7 . . . . . . . . . . . . . . . . 66
The Villancico
Formal Structure
Performance Practice
Fabord6n
III. COMMENTARY. ....................... 86
Text Problems
Spanish and Latin
Nahuatl
Remarks on the Pieces
IV. EDITION OF SANTA EULALIA M. MD. 7 . . .. . . . . . . . . 141
Editorial Procedures
Santa Eulalia M. Md. 7
CRITICAL NOTES .. .. . ................-.-.-.-.-.--- 206
APPENDICES
A. INSCRIPTIONS: SANTA EULALIA M. MD. 7, f. llr, 30v, 43v 211
B. SANTA EULALIA M. MD. 3, f. 9v... . . . . . . . . . . . . . 215
iv
219
SOURCES OF FIGURES AND PLATES
. . . . . . . . .220
BIBLIOGRAPHY - . . . .- . .-.-. . '. . . . . ..
V
LIST OF FIGURES
Figure Page
1. Map of the northwestern highlands of Guatemala - . . . 52

2. "hoi nace la nueba estiella," Santa Eulalia M. Md. 7,
f. 6 v (No. 7) . . . . . . . . . . . . . . . . . . .. .. -.. 53
3. "Asi andando: El palto," Santa Eulalia M. Md.
7,
f. 10v (No. 11) . . . .........-.-.........-.- 54
4. "AquesEtan tonceriaJ," Santa Eulalia M. Md. 7,
f. llr (No. 23-3); Inscription, Santa Eulalia M. Md. 7,
f. llr . . . . . . . . - -. . . . . . . . . - - -. - - - 55
5. "Sed miguel fuerza y escuto," Santa Eulalia M. Md. 7,
f. 12v (No. 13) . . . ................-.-.-.-- 56
6. "Sed miguel fuerza y escuto," Santa Eua7ia M. Md.
7,
f. 13r (No. 13) . . . .................-.-. 57
7. "Domine ad ajuvando/gloria patri,"
Santa Eulalia M. Md. 7, f. l4v (No. 15) .-.-........
58
8. "Aquestan tonceria," Santa Eulalia M. Md. 7,
f. 18r (No. 23-2) . . . .................-.-- 59
9. "Desde el gielo bajo Dios," Santa Eulalia M. Md. 7,
f. 22v (No. 22)..............- - -.-... ... 60
10. "Aquestan tonceria," Santa Eulalia M. Md. 7,
f. 23v (No. 23-1); "favana/fahuana,t"
Santa Eulalia M. Md. 7, f. 23v (No. 24) . . -...- . . . . . 61
11. "Donec ponam/Tecum prinipium/Dominus adextris/

De torente," Santa Eulalia M. Md. 7, f. 25v (No. 26) . . . 62
12. "Maria magdalena," Santa Eula2ia M. Md. 7,

f. 35v (No. 31) . . . ................... 63
13. "magalhi vinac dios a tu belen hiyuus,"
Santa Eulalia M. Md. 7, f. 41v (No. 36).......... 64
14. "magalhi vinac dios a tu belen hiyuus,"
Santa Eulalia M. Md. 7, f. 4 2r (No. 36).-.-. . . .. -. . 65
vi
Page
Figure
69
estribillo............
15. [Villancico with a couplet
3 .... ........ . 70
16. Poetic and musical form of No.
72
of No. 21 .........-....
17. Poetic and musical form
estribillo and
18. [Villancico with a quatrain . 73
. . . .
asymmetrical vueltas].........-.-.-.-.---
. . ... . 73
of No. 16-1 ....
19. Poetic and musical form
and the huehuetl . - 78

20. Musicians playing the teponaztli
..-....... 78
21. Carved teponaztli.........
LIST OF PLATES
Page
Plate
highway
1. Rock formations on either side of the . . . . . . . 30
Ixcoy . .
which goes toward San Juan
. .......... 31
east
2. View from Santa Eulalia, looking
32
north .......-.-....
3. View from Santa Eulalia, looking
as seen
4. Ridge of the Cuchumatanes Mountains
,.- ..
.
from the south .-........-...
road, while Indian

5. Ladino houses front on the
fields. In the
houses are set back in the . . . . 34
Eulalia dance the Toro
foreground, men from Santa
to the plaza
6. Image of Santa Eulalia being carried
Saturday of Glory
amid clouds of incense during the . 35
. .- . . .-.- I-.-..
. .- . . . . .
procession . . .
returning from the

7. Saturday of Glory procession . . 6
the image of Santa Eulalia
plaza with a canopy above
being carried
8. Image of Our Lady of the Conception .. . . 37
procession . .
during the Saturday of Glory
front of the Santa Eulalia

9. Figure of Judas hanged in
the background are the
church on Good Friday. In 38
market buildings . .........-.-............
vii
Page
Plate
. . . . . . 39
10. Prayer in front of the church at Santa Eulalia
11. Morning prayer in front of the church at

4o
San Miguel Acatan .-..-....-.-.....-...-.-.-.-.-
of the
12. Principal men of the village in front
. . 41
Santa Eulalia juzgado
fountain in
13. Women drawing water from the public
....... 42
front of Santa Eulalia's municipal building
. . . . . .. . 43
14. Young Santa Eulalia woman in native dress
playing the flute

15. Santa Eulalia men in native dress 44
.. ........
and drum in the Saturday of Glory procession
...-..-.-... 45
16. Plaza and parish church in San Juan Ixcoy
..-..--.-.-.-.-.-. 46
17. Parish church in San Mateo Ixtatan
18. A different view of the San Mateo Ixtatan 47

parish church . . ........-.-.-.-....-.-....
48
19. Santa Eulalia church and juzgado ...............
20. Chapel of the Rosario, built by the principal

Indian of Santa Eulalia in the early twentieth
century . . - - .-.- - - - -
.-.-.- .-.- .
--
--.-.-
21. The calvario, an adobe chapel in Santa Eulalia

...........- 0
used only during Lent and Easter week.....
. . . . . . . 51
Parish church and market in Jacaltenango .
.
22.
LIST OF TABLES
Page
Table
I. Numbering Systems of the Lilly Library's

. . . . ..............
6
Guatemalan Manuscripts
II. Common Letter Substitutions Found in

86
Santa Eulalia M. Md. 7...........-.-..-.-.-.-.-.
III. Catalog and Concordances for

135
Santa Eulalia M. Md. 7 . . . . .-.-.-.-...--..-
viii
LIST OF TRANSCRIPTIONS
Number
Page
I. victoria victoria quien a vengido . 145
.
2. yesuchristo nuestro dios . . . . . ....... .......... 147
.
3. Esta es gena de amor llena . . . . . . . . . . 149
4-1. llegaos al convido - - . - - . - .. - 151
5. Virgen madre de dios 153
6. De la sagrada maria....--.-.-.-. . - - - - . - . . - 154
7. hoi nace la nueba estiella 155
8. Dios es ya nacido.....--.-.-.-.-. 156
9. y technepa sacramento dios onclcama 158
10. Oy es dia de player . . . . . .... 159
11. Asi andando: El palto....-..-....-.. 16o
12. El fiel peso y medida ....--... 162
13. Sed miguel fuerza y escuto . . 164

.
14. principatus .......... . 167

.
15. Domine ad ajuvando/gloria patri 168
16-i. muestre la tierra alegria....... 171
17. Dixit Dominus Efragment]- 173

-
18. jesucristo nuestro dios [fragment] - . . . . . . . . - 173
19. De la hermosa Rebeca . . . . . . . 174

.
20. forgado de amor de amores......... . . . . . . . . . . 175
21. Alegria pecadores .......... 176
ix
Number Page
22. Desde el gielo bajo Dios . ..-.-.-...-.-.-.. - - 177
.... -.- -a- - - 178

23- 1. Aquestan tonceria
-
2 favana/fahuana...-....-.-................... - - 179
25. Si tanta gloria se da . . . .. 0-0-a-0 - . - - - 180
#
2 ~6. Donec ponam/Tecum pringipium/Dominus a dextris/ - r%
182
-
De torente
-10r-
27--1. Surrexit dominus alleluya . . . . . . - -
.
-0--- 186 - -
-
28. 0 virgen maria .........................
29. Et misericordia/Deposuit potendes/Susgepit iisrael/

gloria patri.....-.................-.-.-.
30. Ne recorderis - - 0- 0- a- - 194
31. Maria magdalena...- - - o - - - 196
-00- -198 32--L. bay magalhi . . . . - - -.-0-0 - -,- - - -

- - -
-0- --199 . ..- - - - - -
33. textiless fragment]
-
tibi soli pecaui.....--.-.-.-.-.-.-.-. - - -0 -1 - . . 200

34 -1.
-
Abrase el reyno del cielo -- - a-0-0 - .202 - -

35.
-
203
36. magalhi vinac dios a tu belen hiyuus . .-
. .D.*-*-0-4 - -0-0-0-i - 205

37. miserere mei Deus
-
x
1
Chapter I
INTRODUCTION
The San Miuel Acatn Repertory
The Lilly Library of Indiana University owns a group of late
sixteenth and early seventeenth-century Guatemalan music manuscripts con-
sisting of thirteen bound volumes and two fragments. They were copied
for use in the villages of Santa Eulalia, San Juan Ixcoy, and San Mateo
Ixtatan in the Department of Huehuetenango in northwest Guatemala. All.
are still encased in their original deerskin bindings, and some even have
the hair remaining on the hide.1 The first nine of these manuscripts
were designated by Robert Stevenson as the San Miguel Acatan Repertory
after the name of the village in Huehuetenango where they were assembled
2
in 1963 by two Maryknoll fathers, Edward F. Moore and Daniel P. Jensen.
The manuscripts have become known through Stevenson's writings by
the names of the villages from which they were gathered. Since the first
seven originated in Santa Eulalia, they were further identified by the
Fathers with the sigla M. Md. __. Hence the manuscript which is the
basis of this study is referred to as Santa Eulalia M. Md. 7 or simply
as M. Md. 7. A complete list of the manuscripts can be found in Table I.
1. Information is from photocopy of Lilly catalog cards.
2. Robert Stevenson, Renaissance and Baroque Musical Sources in the

Americas (Washington, D.C., 1970), 50.
2
choirbooks in his catalog,

Stevenson inventoried these nine
3 and according
Sources in the Americas,
Renaissance and Baroque Musical
to him,
manuscripts whose activities

The earliest.composers in the Alonso
. [are] Johannes Urrede,
can be traced in Spain .
de Escobar, Juan
de Avila, Franciscopde Pefialosa, Pedro
Matheo Fernandez,
Garcia de Basurto, Diego Fernandez,
de Pastrana. The earliest
Crist6bal de Morales, and Pedro
. Heinrich Isaac,
Flemings include . . . lXosquin,"
Jean Mouton, and Loyset Compere.4
codices, Maryknoll missioners

In addition to these polyphonic
numerous printed
surrounding San Miguel Acatan
gathered from the villages
Among the
manuscripts for safekeeping.5
liturgical books and plainchant
a Venetian Pro-
at San Miguel Acatan are
printed materials gathered
by
morem fratrum predicatorum printed
cessionarium secundum rituem et
local
in 1561 by the alcalde (chief
Antonio Junta in 1545 and purchased
and 1550 and
two missals printed in 1545
executive) of San Juan Ixcoy;
de Ocharte's
Processionarium; and Pedro
purchased soon after the
sancti Domini printed at
Psalterium Chorale secundum consuetudinem
Mexico City in 1563.6
6
Santa Eulalia M. Md. 5 and M. Md.
3. Thid.,55-62. Due to his combining being "eight
nine manuscripts as
in the catalog, Stevenson refers to the
choirbooks" (P. 55, Renaissance and Baroque). The leaves of these two
with M. Md. 6 beginning at f.
manuscripts were numbered consecutively, is
and Baroque). However, M. Md. 6
33r of M. Md. 5 (p. 60, Renaissance of
with different foliation on p. 51
mentioned as a separate manuscript
the catalog.
The
Music in 16th-Century Guatemala,"
4. Robert Stevenson,, "European
345.
Musical Quarterly, L/3 (July 1964),
5. Tbid., 346.
6I. bid., 349.*

3
plainsong books
The earliest date in any of the hand-copied
seems to be the year 1570,which

in the San Miguel Acata'n collection
in the back of a 200-leaf

appears as part of a Spanish inscription
8
mutilated gradual.
7 This item is not owned by Lilly Library.
Codices M. Md. 1
According to their flyleaves, Santa Eulalia
manuscripts. Both
and 2 are the earliest dated of the polyphonic
de Len, who referred to
were copied and signed in 1582 by Francisco
1 as "maestro deste pueblo De sancta

himself on the title page of M. Md.
signature of
olaya" [Santa Eulalial.10 Codices M. Md. 5 and 7 bear the
1 1 who
a native Indian,
another local maestro de capilla Toma's Pascual,
Pascual was active as maestro in

may have been a pupil of de Leon.12
San Juan Ixcoy between 1595 and 1635.13

is an antipho-
Santa Eulalia M. G. 5, dated August 14, 1635,
Stevenson's catalog,15 but Santa

narium14 which is not inventoried in
7. Ibid., 349-51.
the Guatemalan Music MS. No. 8
8. Paul Borg, The European Repertoire of
1978), 4.
in the Lilly Library, Bloomington, Indiana (Bloomington,
351.
9. Stevenson, "European Music,"
10. Stevenson, Renaissance and Baroque, 57.

Territory (Berkeley and
11. Robert Stevenson, Music in Aztec and Inca
Los Angeles, 1968), 207.
12. Stevenson, "European Music," 351.
206.
13. Stevenson, Aztec and Inca,
14. Lilly catalog cards.

p. 63, n. 8. Although Stevenson
15. Stevenson, Renaissance and Baroque,
he did discuss its inscription.
did not inventory Santa Eulalia M. G. 5,
Eulalia M. G. 5 (= Lilly
There has been some confusion concerning Santa
Stevenson, Lilly
No. 13) due to a difference in foliation by Robert
4
Eulalia M. Md. 7 is included on PP. 58-59. At folio lr of the manu-
script, Pascual inserted a paragraph in Nhuatl, the trade language of
northern Guatemala during the Conquest century16 (Figure 4). Here he
described the manuscript as "a collection of original coplas and

villan-
cicos completed January 20, 1600, for use at San Juan Ixcoy, where he
was maestro de capilla." 17
The predominant language of the Lilly manuscripts is Latin,
often corrupt, but at least two-thirds of them contain texts and
inscriptions in Spanish, Nghuatl, or one of a variety of local Indian
languages--in all, at least six. Throughout are to be found songs in
Chuj, Kanjobal and Jaltec,1 and phrases and inscriptions in Cakchikel,
Quiche and corrupt Nahuatl.1 9
In addition to liturgical music, and sacred music in languages
other than Latin, the San Miguel Acatan Repertory also includes dance
music ,with and without textswhich has secular origins. For example,
M. Md. 7 contains several villancicos which are designed for dancing
at church festivals. Instrumental dances without text can be found in
M. Md. 7 (Figure 10), and in M. Md. 2, as well as in the manuscripts
Library, and Paul Borg. In his thesis (pp. 4-6) Borg wrote that
Stevenson's information concerning Santa Eulalia M. G. 5 did not
coincide with the contents of any of the Lilly Library manuscripts,
but has later acknowledged (letter dated 24 March, 1980) that the
signature, inscription and date in Lilly No. 3 are the same as
those described by Stevenson as being located in Santa Eulalia M. G. 5.
16. Stevenson, "European Music," 346-47.
18. Ibid.

5
When cataloging these instru-

San Juan Ixcoy, and San Mateo Ixtatnn.
them "the only purely secular
mental dances, Robert Stevenson proclaimed
Guatemalan manuscripts.
music thus far discovered in any sixteenth-century
by Stevenson as French chansons
Further secular pieces were identified
21
the San Mateo Ixtatan manuscript.
which had been contrafacted for use in
owned by Lilly Library that are
A brief discussion of the codices
can be found on pp. 4 and 6 of

not included in Stevenson's inventory
codices the
Paul Borg's thesis.22 Throughout the thesis he gives the
them with "Bloomington"

same numbers as does Lilly Library, but precedes
(See Table I for coordination of
or "Manuscript" rather than "Lilly."
by the Maryknoll Fathers, the Lilly

designations given to the codices
Library, and by Paul Borg.)
Santa Eulalia M. Md. 7 is a collection of thirty-four four-part
this manuscript are

songs and dances. The majority of the pieces in
to have been written by

viliancicos and most of them are thought
the Archangel Michael23 (Figure 4).
Tomas Pascual, who dedicated them to
two-thirds of the manuscript. The

The villancicos fill approximately
biblical texts in either fabord6n
remaining third consists of Latin
(Figure T), three pieces with
(Figure 11) or contrapuntal settings
Nahuatl texts (Figures 13,14). the instrumental dance piece previously
and several unidentified

meintioned, three pages with inscriptions,
fragments of music.
52.
20. Stevenson, Renaissance and Baroque,
21. Ibid., 61.
22. Borg, op. cit. , 4-6.
Baroque, 58.
23. Stevenson, Renaissance and
6
the
Table I. Numbering Systems of
Lilly Library's Guatemalan Manuscripts
Lilly Library Numbers** Borg Classification***

Maryknoll Numbers*
3 No. 1 Bloomington Manuscript 1

Santa Eulalia M. Md.
2 Bloomington Manuscript 2
Santa Eulalia M. Md. 24No.
5 No. 3 Bloomington Manuscript 3

Santa Eulalia M. Ma.No.
No. 5 Bloomington Manuscript 5

Santa Eulalia M. Md.7


San Juan IxcoiNo.
No.9 Bloomington Manuscript 9

San Mateo Ixtatan
G.No. 11 Bloomington Manuscript 11

StEaa
Bloomington Manuscript 12
. .No. 12
.
13
No. 13 Bloomington Manuscript
Santa Eulalia M. G.5

. . (fragment)

(fragment)
to ten of the manuscripts by

*These were the original numbers assigned in
were also used by Robert Stevenson
FathersJensen and Moore. They
Sources in the Americas.
Renaissance and Baroque Musical
manuscripts by Lilly Library. Their
**These numbers were assigned to the Mss. Nos.
American Mss. Guatemala, Music
complete catalog title is Latin
1-15.
The
assigned by Paul Borg in his thesis,
***These manuscript numbers were
Music Ms. No. 8 in the Lilly Library,
European Repertoire of the Guatematan
Bloomington, Indiana.
7
In order to give some idea of Pascual's duties at San Juan Ixcoy,
I refer to a general description given by Thomas Gage, an English Dominican

24
friar who traveled in Guatemala during Pascual's lifetime. Gage observed
that the maestro de capilla in Guatemalan Indian villages was called the
fiscal, and was the priest's officer over the singers, trumpets, and waits.
The fiscal was able to read and write, executed justice, and taught Christian
doctrine to the young youths and maids of the village at the church before
and after services. He directed the musicians at morning and evening Mass
in their use of organs and other musical instruments, attended important
visitors with waits and trumpets, and prepared arches with boughs and
flowers for their arrival. He attended the priest, carried out his errands,
and had more influence in the town than the mayors, jurats, and other
officers of justice. He was exempt from the service of the Spaniards,
from carrying burdens, and from acting as a guide for travelers.25 According
to Robert Stevenson, sixteenth- and seventeenth-century Indian villages of
southern Mexico and Guatemala conferred more power and prestige on the
leading local musician than has ever been allowed by the social and
political system at any other time in American history.26 The authority
of the colonial maestro de capilla was inherited throughout the Mayan
area from the pre-conquest holpop, who was the principal musician of the
village and a greatly venerated man.27
24. Thomas Gage, Travels in the New World (Norman, Oklahoma, 1958), xxxi-
xxxii.
25. Ibid., 230-231.
27'. Stevenson, Aztec and Inca, 108, n. 248.

8
Geography of Highland Guatemala
departamentos,
The Republic of Guatemala is divided into twenty-two
divisions within the republic and
units which are the largest political
The smallest political unit within

equivalent to states in other countries.
a
is similar to what we think of as
a departamento is the municipio, which
of a pueblo (village which is the
township.28 Each municipio is made up
or more aldeas (rural hamlet-like

capital of the municipio) and one
and a
settlements). The governmental capital of both a departamento
municipio is known as a cabecera. But, where the cabecera of a municipio
cabecera of a departamento fre-

is often named after the municipio, the
of the departamento. However, in the

quently does not share the name
the villages associated with Santa
Department of Huehuetenango, in which
of synonymous naming is
Eulalia M. Md. 7 are located, the tradition
followed.
on the Mexican border
The Department of Huehuetenango, located
2,859 square miles,which is

in northwestern Guatemala, has an area of
9 Within this departamento is
divided among thirty-one municipios.
range known as the Cuchuma-
found a portion of the main Andean mountain
which are considered to be
tanes Highlands or Los Altos Cuchumatanes,
of all Central America (Plates
the highest and most rugged mountains
the
1-4). With their main ridge running roughly southeast-northwest,
to 8,500 feet above sea level,

mountains usually have altitudes of 4,500
of a Cuchumatan Indian
28. Oliver La Farge, Santa Eulalia; The Religion
Town (Chicago, 1947), xv.
of Guatemala (Metuchen, N. J.,

29. Richard E. Moore, Historical Dictionary
1967), 7, 9, 26, 51, 72, 99.
9
but there are some peaks which rise to almost 12,000 feet. It is rare
to find level spots larger than an acre or two on these ravine-filled
steep mountain sides. There are two seasons in the Cuchumatan area: a
dry summer season lasting from November through April, and a wet winter
season during the remainder of the year. As is characteristic of tropical
highlands climates, the temperature varies more with the altitude than
with the season, plunging to 320F or below in the heights and rising to
90*F in protected valleys. The mean temperature for altitudes of 6,000
to 8,000 feet is 50'F - 65"F.30
As of 1950, 73.3% of the 200,101 inhabitants in the Department

31
of Huehuetenango were Indians, with the remainder of the population
consisting of Ladinos. The distinction between Indians and Ladinos is
cultural rather than physical. The name Ladino represents non-Indian
people of Spanish culture, often with a mixture of Spanish and Indian
blood. Ladinos speak Spanish, have Spanish surnames, wear shoes and
clothing in the European style, are usually literate, live in houses
with windows (Plate 5), and have a higher standard of living than do
most Indians. Indians are the pure-blooded descendants of the people
of pre-Columbian Guatemala. They speak Indian languages, wear Indian
costumes, have Indian surnames, and live according to traditional Indian

32
customs. Europeans, Negroes, and even Indians who adopt the dress
30. Charles Wagley, Economics of a Guatemalan Village (New York, 1969), 7.
31. Moore, op. cit., 72. Other population statistics given in this paper
are also from 1950.
32. Sol Tax, "The Municipios of the Midwestern Highlands of Guatemala,"

American Anthropologisb, n.s., XXXIX/3 (July-September 1937), 432.
10
and mannerisms associated with western culture can be loosely classified
as Ladinos. When an Indian takes on characteristics associated with
Spanish cultural traits, he is said to be ladinized.3 3
Distinct variance in religion and political organization exists
among the highland municipios. In addition to having their own patron
saint (Plates 6-8) and costume (Plates 5-15), the people of each muni-
cipio often have their own tradition of origin. The inhabitants of
each municipio share a common tribal name and are "'a people' distinct
from all others, even those speaking a mutually intelligible dialect." 35
Considerable variation on specialization of custom occurs from one
municipio to another, and the Indians are conscious of these differences
along with even minor dialectal differences.36 Therefore, a different
and relatively independent social organization exists in each municipio.37
The natives of the highlands all speak languages of the Kanhobal
group, with the exception of the two Mames municipios of San Martin
Cuchumatan (for which the area is named) and Todos Santos. The Kanhobal
group is "divided into two languages, Kanhobal and Chuj, with Jalteca as
a major dialect of the former." San Juan Ixcoy, Santa Eulalia, and
San Miguel Acatgn Indians all speak the Kanhobal language, while Chuj is
33. Moore, op. cit., 83.
34. Wagley, "Economics," 8.
35. Ibid.
36. Ibid.
37. Tax, "Municipios,." 444.
38. La Farge, op. cit., vi-vii.

11
spoken in San Mateo Ixtatgn. Each municipio has minor variations when
the same basic language is involved. For example, the language of San
Miguel Acatan is basically true Kanhobal with Jaltecan influences. 39
Municipios vary in size from thirty to 1,000 square miles..4o
Those in the highlands are smaller in area and larger in population than
those of the lowlands. San Juan Ixcoy, with 5,310 inhabitants,4 2 is
one of the more densely populated municipios. It is in the east central
part of the departamento, with its cabecera located on the road north from
Huehuetenango (the capital city of the departamento) a distance of twenty-
one miles (Figure 1). Its main products are corn, wheat, beans, potatoes,
and woolen shirts and robes. In 1898 the Indians of San Juan Ixcoy, in
an attempt to prevent further immigration into their municipio,45 massacred
those Ladinos who were already living there. The government retaliated by
exterminating the inhabitants of the village, and it has been only recently,
with the construction of a new highway to the departmental cabecera, that
new life has come to the region. The pueblo has an old church which has
been repaired several times (Plate 16).46
39. Ibid., vii.
41. Tax, "Municipios," 425.
43. Adrian Recinos, Monografia del Departamento de Huehuetenango

(Guatemala, 1954), 361.
44. Moore, boc. cit.
45. La Farge, op. cit., xii.
46. Recinos, op. cit., 363-64.

12
is San Mateo Ixtatan,

Thirty-five miles north of Huehuetenango
48
of the departamento (Figure 1).
one of the most extensive municipios
9
astride a high ridge near the head of the Ixquiss River Valley
It lies
a population
an altitude of 8,540 feet with
in the northern Cuchumatanes at
wool, and wheat provide the
of 7,835. Salt production, sheep raising,
This Chuj-speaking area
main means of livelihood of the inhabitants.50
all of which treat San Mateo Ixtatn
is divided into three municipios,
ceremonial dependence upon it.The
as their central village and show
present condition
and by its architecture and
parish church is very old,
during
that was constructed in this area
appears to be one of the first
Early in the present century, the
the colonial epoch (Plates 17, 18).52
to
to perfecting an uprising similar
San Mateo Ixtatan Indians came close
53
previously described.
the 1898 San Juan Ixcoy massacre
is Santa Eulalia,
Between San Juan Ixcoy and San Mateo Ixtata'n
north of Huehuetenango (Figure 1).

which is about twenty-seven miles
of 8,300 feet on a westward-facing

This municipio sits at an altitude
6 n ridge. 4 As late as 1959,
shoulder of the main north-south Cuchumat
48. Recinos, op. cit., 372.
49. La Farge, op. cit., viii.
50. Moore, loc. cit.
51. La Farge, loc. cit.
54. Ibid.,9 3.
13
the cabecera was not accessible by road.55 The population of the muni-
cipio is 8,273, and crops of corn, wheat, beans,

and potatoes are produced
in the area.56 Santa Eulalia was originally much larger than it
is at
present, but in 1889 and 1900, two other municipios
were shorn from it by
request of the Ladinos,who wished to develop that territory.
The Indians
of the two newer municipios are still considered
part of the Santa Eulalia
tribe, and they think of Santa Eulalia as their

ceremonial and commercial
capital. The parish church was constructed in 1884 (Plates 9, 10, 19).58
Of special interest in this municipio are the many

deep caverns
and caves which produce a thundering roar when the wind blows violently. 59
In the early twentieth century, a governor of the departamento

entered
Santa Eulalia's sacred cave of Yalan Na' and removed
from it a collection
of ancient idols which he took to Huehuetenango and

dispersed, much to the
horror and dismay of the I ndians.60 Highlands natives believe that the
spirits of their young people leave them and go to

this sacred cave twenty-
five days before the Mayan religious new year and

return twenty days later.
Adult spirits are believed to visit the cave during the

last five days
before the new year.

.61
55. Moore, op. cit., 3, 148.
56. ITbid. , 148

.
57. La Farge, op. cit., 3, 4.
58. Stevenson, Renaissance and Baroque, p. 63, n. 6.
60. La Farge, op. cit., 5.

61. Morris Siegel, "Religion in Western Guatemala: A Product
of Accultura-
tion," American Anthropologist n. s., XLIII/l (January-March
1941), 73.
populated zones of
San Miguel Acatan is one of the most heavily
the Department of Huehuetenango.62 Its cabecera is also on a western
northwest of the capital city

slope of the mountains, twenty-nine miles
of the departamento (Figure 1). The elevation here is 6,020 feet above
by making hats and

sea level. The municipio's 10,446 inhabitants subsist
lead. They are dispersed over a wide

ropes, milling flour, and mining
64
seven surrounding aldeas. On the
area, occupying the pueblo center and
church and convent annex,
eastern side of the pueblo's plaza rises an old
and recently reconstructed
built by the Fathers of the Mercedarian Order
which administers the parish

by the Fathers of the Maryknoll society,
in San Miguel Acatan
(Plate ii).65 Ethnological field work was done
of Columbia University.
for ten months during 1938-1939 by Morris Siegel
representative of most Guatemalan
He later wrote that conditions there were
villages at that time, and on this basis I shall relate his description
and outlying area as an example of

of San Miguel Acatan's pueblo center
6
similar organization of San Juan Ixcoy, San MateoI xtat .n, and Santa
the
Eulalia.
described, the pueblo

Besides the church, which was previously
courthouse (Plate 12) around its

center had a school house, jail, and
62. Recinos, op. cit.5, 349.
63. Moore, op. cit.5, 141.
Culture Change in Western Guatemala,"

64. Morris Siegel, "Resistances to
1940-August 1941), 416.
Sociology and Social Research XXV (September
66. Siegel, "Resistances," 416.
See also Wagley, "Economics," 8.

67. La Farge, op. cit., xv, 3.
15
drawing water (Plate 13).

plaza, with a fountain in the middle for
administration and
This pueblo center was the focal point of civil
activities (Plates
the scene of most economic, social, and religious
9, 10, 13, 16, 22). Most of the houses in the pueblo center belonged
fields as
to Ladinos. The majority of the Indians lived near their
did their ancient ancestors.69 The Indian's single-room, rectangular
thatched roof and an

house was made of adobe bricks with a slanting
earthen floor (Plates 2, 5-7, 12, 21). Cooking and heating were done
or to one side of the

on an open hearth that was placed in the center
and some
room. Furnishings consisted of two or three tiny chairs,
plank beds.i7
Region
Religion and Government in the Cuchumatan
has also been

Great similarity in local government and religion
small differences
witnessed in highlands Indian villages, even though
make each municipio an individual society. These similarities can be
region.
seen through a glance at the history of the Cuchumatg'n
violent clashes
During the Period of Conquest (1524-1600) the
led to the decline of the

between the Spanish and Mayan Indian cultures
Indian way of life.71 Immediately after the Conquest, probably by mid-
group seem to
sixteenth century, the Indians of the Kanhobal-speaking
69. Wagley, Loc. cit.

1968), 250, 287-88.
71. Sol Tax, Heritage of Conquest (New York,
16
villages: San Juan Ixcoy, San Mateo

have been organized into six major
Acatin, Soloma, and Jacaltenango.

Ixtat6 Jn, Santa Eulalia, San Miguel
Order, Soloma and
Parishes of the Mercedarian
They were divided into two
these six
Jacaltenango (Plate 22). With the exception of Jacaltenango,
T2
importance.
with pre-Conquest ruins of some
main villages are associated
European music played a paramount
In these "outlying Indian districts
as is evidenced
the indigenous population,"
role in the evangelization of
contents.
of the San Miguel Acatan Repertory's
by the earlier description
flocked eagerly to learn

From the beginning, the indigenes
European music--so much that
everything possible concerning combined 0,
intricacies in the . . repertory such as the
preclara Mass clearly
C, and G mensurations in Isaac's 0
To say that they them-
gave them the delights of a puzzle.
is to deny the
selves did not marvel at Mouton and Morales
books were eagerly shared
evidence showing that these very that this
To claim
with maestros from Soloma to Chiantla.
native-language coplas
repertory did not join with their
their most prized personal
and villancicos to become
frequent petitions of co-
possession is to overlook the
until the end of the
fradas [religious cofraternities]abated, and that even hours
colony that choirs be in no way
polyphonic ly and with as
in small parish churches be sung
muster.
full solemnity as the village could
such travelers as Thomas Gage

Sufficient literary data survives from
interest in European music, even

to confirm the Guatemalan Indians' avid
75
without the evidence of these codices.
xi.
72. La Farge, op. cit., viii,
345.
73, Stevenson, "European Music,"
-(4. Ibid., 352.

the New World, ed. by
75. Ibid. , 346. See also Thomas Gage, Travels in 131-33, 160, 162, 172,
Oklahoma, 1958),
J. Eric S. Thompson (Norman, of the Indians' music in Guatemala
230,r231, 243-46 for descriptions
and Chiapas.
17
During the colonial period, the church was almost entirely
responsible for educational programs. Along with training in arts and
crafts, the clergy gave instruction in the catechism. To the children
of Spaniards and sons of principal Indians of the villages they offered
instruction in reading, writing, and other rudiments of knowledge.

Be-
fore the middle of the sixteenth century, monks were teaching Latin
in
Guatemala, considering it to be the foundation of all education.76
With the suppression of Indian traits and absorption of Spanish
traits during the Conquest, the Indian culture began its evolution
toward a culture which Oliver La Farge has labeled "Recent Indian,"
In a report concerning his 1932 field work in Santa Eulalia, he writes
that the church became less powerful and the control of the centralized
government became more lax after the initial Conquest years.. The
church lost even more power shortly after the time of Guatemala's
independence from Spain in 1817, when it "became involved in politics
and eventually lost, with subsequent curtailment of its power, its
right to hold property, its authority to make unrestricted appointments,
and its right to manage its own affairs." As soon as the Catholic
Church began to diminish in power, the Indians began to revive their
aboriginal practices.79 The religion that evolved during the succeeding
three centuries was a distinctively new one, with a fusion of Catholic
76. Nathan L. Whetten, Guatemala; The Land and the People (New Haven,
1961), 259.
77. La Farge, op. cit., xi, xv.
78. Whetten, op. cit., 305.
79. Tax, Heritage, 250, 288.

18
o
and ancient Mayan elements. Here Christianity and paganism became
element could not be separated

so thoroughly blended together that one
natives did
from the other. The integration was so complete that the
81
from two different sources.
not realize that their religion stemmed
consisted of God, several

They worshiped a sort of pantheon which
of saints. Every religious
mysterious supernatural beings, and a number
for the dead, loud
festival was celebrated with heavy drinking, mourning
8
to the music of marimbas. 2
wailing over past misfortunes, and dancing
any conflict between the most

The Indians had "not the faintest idea of
8
religious practice and the most orthodox Catholicism." 3
purely Mayan
this hybrid religion,
Each municipio had its own local adaptation of
prayers, supernaturals, and special

using its own set of legends, myths,
8
formulae for appeasing the gods. 4
the special cults
Differing from the community religion were
divina-
practiced by family units. Also important to these Indians was
economic, medical, and religious

tion, which played a large part in social,
they
problems and decisions. The natives dreaded sorcery, to which
untimely deaths, and practiced

attributed all illnesses, misfortunes and
had a spirit-counterpart
Nagualism with the belief that every individual
inseparably united with that of
that lived in an animal whose fate was
80. Siegel, "Religion," 64.
84. Whetten, Loc. cit.

19
the human.85 There was a vigorous survival of parts of the Mayan
ceremonial calendar with simultaneous use of the Gregorian 6

3 5-day
calendar for fixing of the Christian festivals and
installation of
1 religious officers. 86
civil and This syncretism of aboriginal and
imported religious elements has been given the name

of "Folk Catholi-
7
cism."
Closely interwoven with "Folk Catholicism" is the

local
government structure of the municipios. June Nash, whose field work
in the western highlands was during 1953-1954 and

1956, explains the
system as follows:
. . . Throughout the region is found the ranked hierarchy

of civil and religious offices. Aided by their
families,
all townsmen are expected to hold a series of positions
within the official hierarchy of their township. As
an
individual advances in his career the offices that he
holds become progressively more responsible and deserving
of respect [Plate 12]. In this manner the communities
provide for the upkeep of their churches and other public
facilities, for the enforcement of law, the care of saints'
images, and the performance of rites appropriate to the
ritual calendar.08
85. Siegel, "Religion," 69-70.
86. La Farge, op. cit., 163, 165.
87. June Nash, "Protestantism in an Indian Village in the

Western High-
lands of Guatemala," Alpha Kappa DeZtan XXX (Winter
1960), 49-50.
88. Ibid., 49. For detailed explanations of the civil-religious
hierarchy,
see Wagley, Economics, 11-13; Charles Wagley, The Social and Religious
Life of a Guatemalan Village (1949), 79-104; Siegel,
"Religion," 67;
Siegel, "Resistances," 417-18; Tax, "Municipios," 442-44;
La Farge,
Santa Eulalia, 13, 19, 82-83, 112, 132, 134,
136, 141-42; Manning
Machine Age Maya; The Industrialization of a Guatemalan Community Nash,
(Chicago, 1967), 125-29.
20
As the hold of the Catholic Church was weakened, so was its
contact with the mountain villages, to the point that the only formal
tie consisted of biannual visits of a priest to the villages to par-
baptismal
ticipate in the celebration of Corpus Christi and perform
rites.89 Around 1920 the Diocese of Los Altos, which contains the
Parishes of Soloma and Jacaltenango, was merged with the Diocese of
Guatemala City, and until its restoration in 1931, there was no resident
priest at all in the highlands.90 During this long period of minimal
contact with the church, and especially during the time when there was
no resident priest, most religious functions were conducted by officers
of the hierarchy. The catechism and mass were unimportant, and con-
fession unknown. Marriages were performed according to aboriginal
tradition, rather than that of the church. Burials were directed by
their
cantores, Indian men who had learned Latin chants by rote from
9
predecessors. 1 The person in the hierarchy with qualifications
closest to those of a priest was the Maestro Cantor, who had the ability
burial
to write and to lead the cantores in chants for the wakes and
9
processions.
During this period of separation from the church the different
were
codices and liturgical books of the San Miguel Acatan Repertory
villages by chimanes
guarded in locked cupboards in their respective
90. La Farge, op. cit., xii, 79.
91. Wagley, Economics, 16.

21
them out for only the

(soothsayers, sorcerers, and healers), who took
most important festivals. In his article entitled "European Music in
that
16th-Century Guatemala," Robert Stevenson tells us
. . .enough evidence is now at hand to give Guatemala a

annals of
proud place beside Mexico and Peru in the
Renaissance music. Ironically, it has been pure-blooded
Indians in Guatemala rather than ladinos and descendants
of conquistadores who most scrupulously respected the
treasure of European Renaissance music ,brought over by
Dominican colleagues of Las Casas. . . . Seen in this
to
light, the effort of some present-day folklorists
the indigenous Guatemalan heritage and the
dichotomize
each other
European tradition, and to pit them against
as irreconcilable opposites, betrays history. . .
.
Finally, to contend that the Indians did not continue
native
honoring this repertory three centuries after the
maestros de capilla created and copied it is to forget
that we today hail the preservation of this musical
San
treasure in so remote and unheard-of a hamlet as
continued for
Miguel Acatan because their descendants
as talismans of an
generations to secrete the9 books
3
unutterably precious past.
several
The religious wing of the hierarchy was organized into
cofraternities of laymen called cofradias. Each cofrada was in charge
arranging
of caring for and protecting the image of a particular saint and
6-8).94 The aboriginal pattern of

fiestas in honor of that saint (Plates
is still common in
religion combining secular and religious functions
Highland Guatemala.95 However, the hold of the religious organization
through
over the civil administration has been weakened in recent times
the national government

the Ladinos' success in obtaining a ruling from
93. Stevenson, "European Music," 351-52.
94. Whetten, op. cit., TO, 288, 321.
95. Tax, Heritage, 284-85.

22
which placed them in the highest-ranking, policy-controlling civil
offices of the municipios, causing a separation of church and state

96
at the municipio level. Also, there has been a recent lack of
participation in the civil-religious hierarchy by a number

of Indians,
due to a falling off of contributions from citizens with which to re-
imburse officers for the neglect of their own personal business during
terms of unpaid office.9 7
After completing his work in Santa Eulalia in 1932, Oliver
La Farge reported that the breakdown of the "Recent Indian" culture
with its heritage of Mayan survivals--the process of de-Indianization--
was still only beginning in most of the Cuchumatan villages. There had
only recently been a significant degree of change in that area, which
had long stood as a fortress against change.

98
In the late 1940's the
Viking Fund Seminar on Middle American Ethnology put together an index
of acculturation which showed retention of pre-Columbian traits in
twenty Mesoamerican areas. Of the twenty areas rated, northwestern
Guatemala, specifically the Department of Huehuetenango, was rated
second highest in retention of purely Indian elements. Members of the
Seminar, all specialists in the field of middle American ethnology,
agreed that approximately 80% of the Indian trait loss had probably
occurred in the sixteenth century during the period of the Conquest,
and the other 20% in the nineteenth century. 99
96. La Farge, op. cit., 13, 134.
97. Ibid.!, 132.
98. Ibid., xii, 1.
99. Tax, Heritage, 263-64.

23
Isolation has been the key deterrent to change in the highlands.
The area is boxed in on all sides by forbidding mountain walls or wild,
uninhabitable lowland jungles (Plates 1-4). During La Farge's stay in
Santa Eulalia "none of the area could be reached by wheeled vehicles,"
and he described the Heights of Cuchumatan as "an isolated region of
high ridges and precipitous valleys, hard to approach, hard to cross in
any direction, and, in the main, high, cool, fertile, and beautiful beyond
the possibility of expression. "100A travel guide published in 1949
confirms La Farge's report:
The massive bulk of the Cuchumatanes Mountains near Huehuetenango

[the city] is still isolated from the rest of Guatemala. Numerous
Indian villages hang onto the sides of the mountains . . . as
cut off from the outside world as they were before the Spaniards
invaded the new world. . . . As the crow flies some of the com-
munities are not far away from the highway. In terms of distances
over narrow footpaths or mule trains serpentining up and down
the high Cuchumatanes they might as well be in Tibet as far as
the average tourist is concerned. Among these secluded villages
are those of . . . San Juan Ixcoy, . . . Santa Eulalia, .
San Mateo Ixtat6'n, and San Miguel Acatan. 1 0 1
Santa Eulalia and its neighboring municipios were neglected for
perhaps two centuries by central authority and the outside world. This
happy isolation began to shatter in the last half of the nineteenth
century due to an influx of Ladinos and the development of coffee fincas
(plantations) on the Pacific slopes of the mountainswhose labor demands
could be filled only by drawing upon the population reservoirs of the
10 . Lyman Judson and Ellen Judson, Let's Go to Guatemala (New York, 1949),
226-27.
highlands.102 At the time of the Conquest the Spaniards had coerced
native labor through the encomienda system, changing in 1616 to the
mandamiento system which was abolished in 1894.103 The finca system
was also carried out by force at first, but was later changed to an
elaborate system of debts known as habilitaci6n, a form of the inden-
ture system which finally resulted in debt slavery.104 In 1934 the
system of debt peonage was abolished and replaced by a national vagrancy
law which remained in effect until the adoption of a new constitution in
1945, at which time forced labor in Guatemala virtually came to an end.
This "vagrancy law required any person not having a trade or profession
or not cultivating specified amounts of land to seek employment from
others for 100 or 150 days per year, depending on the amount of land
he farmed. . . . If the worker tilled less than these amounts he would
have to seek work on the plantations for specified periods of time
during the year. 105 The likelihood that most Indians would have to
work on plantations was great due to a reduction of the Indians' common
farm lands through early twentieth-century surveys of land and land
titles which had passed much valuable land into the hands of the
106
Ladinos. Through plantation labor, which required workers to be
absent from their own farms for months at a time, the Indians lost
102. La Farge, op. cit., xii, 4.
103. Whetten, op. cit., 116-123.
105. Whetten, op. cit., 121-22.

25
their economic independence. The cash wages they received caused a
in abandonment of some of the

surplus of cash among them, resulting
income since pre-
local crafts which had been a source of additional
erosion
Conquest times.10
7 These economic changes, along with excessive
continue working on planta-

of their land, have caused many Indians to
harvests, even though'

tions and also as migratory workers following the
108
forced labor came to an end in 1945.
among the
Plantation work has caused some important changes
on the coast
highlands Indians. According to La Farge, "Experiences
and desires; contacts with

and en route taught the natives new tastes
in native ways and all
more sophistocated people weakened their faith
began to invade even
religion. Through the finca system the Machine age
the continuing barriers of

this remote part of the highlands, despite
mountains and trails." 109

rates found in the
Guatemala has one of the highest illiteracy
Huehuetenango
Americas. In 1950 the illiteracy rate in the Department of
the most isolated highland areas

began at 70%, soaring to over 90% in
110
population in those areas.
due to a greater concentration of the Indian
the years to cause
There are several factors which have worked through
In the first place, Indian parents

illiteracy to reach these proportions.
and useless things," or to
do not want their children to learn "new ways
107. Ibid., xii, 5.
110. Whetten, op. cit., 261-63.

26
become like Ladinos, but rather to maintain the Indian way of life.
Relations between Ladinos and Indians seem peaceful and harmonious,
on
but there is actually an undercurrent of hostility and resentment
both sides. Natives express their hostilities toward Ladinos through
passive resistance to Ladino ways.il Parents see little use for the
there,
information taught at school and react against sending children
because the values taught are not consistent with those which prevail
at home.11 Literacy is considered to be of no value because the lack
of roads into mountain communities hinders progress, keeping Indians
society.1 1 3
who do not travel to plantations out of contact with cosmopolitan
not
Second, Indian children who attend school are handicapped by
and
knowing Spanish, which their parents discourage them from learning,
excel through their
appear backward and stupid to Ladino children,who
knowledge of Spanish. The teachers are always Spanish-speaking Ladinos
who cannot speak the native tongue. This language barrier has for some
are in-
time perpetuated the belief among Ladinos that Indian children
ferior and naturally stupid. Native children have learned to accept this
Ladino superiority.ll1
stigma through what has seemed to be daily proof of
always been
Even though the majority of the Guatemalan population has
Indian, they have long submitted to Ladino domination and accepted
ill. Siegel, "Resistances," 420, 424-25, 429-30.

(New York,
113. Waldemar R. Smith, The Fiesta System and Economic Change
1977), 57.
114. Siegel, "Resistances," 420, 423-25.

27
subordinate roles in economic and social spheres, making only rare

1 15
and feeble attempts to gain equal status with Ladinos.
A third factor contributing to illiteracy among Indians is that
Guatemala simply does not have enough schools to accomodate school-age
children even if they have the desire to attend. The facilities are far
from adequate to serve the needs, even though new educational programs
6
have been introduced at various times.11
This shortage of schools has been eased somewhat since the end
of Guatemala's 1944 Revolution, at which time Catholic and Protestant
missionaries were allowed into the country. Many Catholic missionaries
began working in mountain parishes which had had no resident priest for
decades. Strong efforts to reach even the most isolated villages have
been made by both Catholic and Protestant missionaries, and both groups
have actively promoted schools, cooperatives, and other social welfare
programs on a national level. Conversion from "Folk Catholicism" to
Orthodox Catholicism or to Protestantism is one of the most important
social movements in contemporary highlands communities, with religious

1 17
orthodoxy becoming a major institutional link with Guatemalan society.
There are several motives for conversion to Protestantism among Indians:
1) Heavy drinking is an essential part of ritual in "Folk

Catholicism," but is discouraged in Protestantism. There-
fore, Indians have a chance to break the vicious cycle of
drinking and poverty.
115. Ibid., 414-15.
117. Smith, op. cit., 52-3, 100.

28
are relieved of the

2) Indians who join Protestant sects
Catholic"
financial burden of participating in "Folk
brotherhoods (cofradfas).
oppor-
3) They can take advantage of better educational
tunities in Protestant schools.
been mentally stimulated and

Young members of Protestant sects have
ambitions increased through their

the possibilities of realizing their
conferences and being drawn
attending out-of-town boarding schools and
is national in scope.118 The

into a network of social relations that
summarized by June Nash,

effects of these missionary efforts have been
who reports that
particularly
in the highland villages organized religion,
may be the main agent of
but not exclusively Protestantism,
because it leads to
culture change at present.. Protestantism,
from different
literacy and through intervisiting units, converts
Because converts
towns, is slowly eroding municipio localism.
Protestantism is
withdraw from the age-grade cofradia system,
for traditional
slowly lessening deference to age and respect
to innovation. Finding
authority, thus increasing receptivity
turn is introducing
itself challenged, the Catholic church in
for the stricken,
changes in the form of social events, charity
11 9
and opposition to the cofrada system.
has also felt the effects

Since the 1944 Revolution the cofrad'a system
and programs of social

of the government's attempts to promote democracy
and economic reform. The rise of political parties, the enacting of
extending their
election laws, and the formation of national organizations
individual action by
influence into rural areas, have promoted emphasis on
120
cofradfas.
Indians rather than on group decisions made by
118. J. Nash, "Protestantism," 50, 52-3.
119. Tbid., 53.
120. Whetten, op. cit. , 321.

29
The 1949 Viking Seminar predicted that in just a few years

to
Indian culture would decline sharply due to government projects
better their way of life. Members of the Seminar credited this
acceleration in acculturation to the idea that relationships between
Ladinos and Indians become more pleasant when the government does
something constructive for the Indian rather than just exploiting
him.121 The truthfulness of their prediction has been made evident
According to his
by a statement published by Waldemar Smith in 1977.
in
findings, "political and social relations have . . . been altered
hidden in the
important ways, such that no Indian village, however
all villages
rugged sierras, is the folkish world-unto-itself that
22
were just a few decades ago."1
121. Tax, Heritage, 294, 288-89.
122. Smith, op. cit.., 43.

30
,RIM'
4F
side of the
Plate 1. Rock formations on either
San Juan [xcoy.
highway which goes toward
31
Plate 2. View from Santa Eulalia, looking east,

32
Plate 3. View from Santa Eulalia, looking north.

33
Plate 4. Ridge of the Cuchumatanes Mountains

as seen from the south,
34
Plate 5. Ladino houses front on the road, while Indian houses

are set back in the fields. In the foreground, men from
Santa Eulalia dance the Toro,
35
Plate 6. Image of Santa Eulalia being carried to the plaza amid

clouds of incense during the Saturday of Glory procession.
36
from the
Plate 7. Saturday of Glory procession returning
Eulalia,
plaza with a canopy above the image of Santa
37
Plate 8. Image of Our Lady of the Conception being

carried during the Saturday of Glory procession.
38
I
Plate 9. Figure of Judas hanged in front of the Santa Eulalia church
on Good Friday, In the background are the market buildings,
39
Plate 10. Prayer in front of the church at Santa Eulalia.

4o
Plate 11, Morning prayer in front of

the church at San Miguel Acatgn,
41
---------------
..
.
Plate 12, Principal men of the village in

front of the Santa Eulalia juzgado,
42
Plate 13, Women drawing water from the public fountain

in front of Santa Eulalia's municipal building,
43
Plate 14. Young Santa Eulalia woman in native dress,

44
J,01
Plate 15. Santa Eulalia men in native dress playing the

flute and drum in the Saturday of Glory procession,
45
Plate 16, Plaza and parish church in San Juan Ixcoy.

46
Plate 17.0 Parish church in San Mateo Ixtatan,

47
Plate 18. A different view of the San Mateo Ixtata'n parish church,
48
Plate 19, Santa Eulalia church and juzgado,

49
the principal
Plate 20, Chapel of the Rosario, built by
century,
Indian of Santa Eulalia in the early twentieth
50
4t
Eulalia
Plate 21. The calvario, an adobe chapel in Santa
used only during Lent and Easter week,
51
4w
'46,
Plate 22, Parish church and market in Jacaltenango,

52
Figure 1. Map of the northwestern highlands of Guatemala.
UETZAL
0enton NEN ON
all BAR LLA
4- AN R SX UAI
SE ASTIAN
S MARCOS A i
'0 HSTA. ANA
I STA N A
0 TIA TENANGO
S. ANTO I0
a HUISTA
.JA
CONC IS QA XXY
P TTN
S. MARTIN
TO OS SANTO
d- TRAPICHIL
S. PEDRO NE TA SANTIAG CHIMALTE ANG
-- %.JUAN ATI A Noi
S. ILDEFONSO IXTAHUACA .AALPTA SA.SAE
,Rv COL ANGO

C~tS. GA R IXCHIL S SEBASTIAN -H"AANTLAA
UEHUET-ECAG~xz
STA. BARBARA
RNZ
CONCEPCI
GULF
15 -UEL IXTAHUACAN
SIPACAP mfXlco
TEJUT O-
AJUMUL
TEMALA
MOTOR ROAD 0 PUEBLOS OF MUNICIPIOSPAC / OC A N
mles ~
TRAILS SCALE
101
53
,---aa-
Li. k
I
Is
I p
44PP4
'I
0 1 0
loll
H
~i H
0 a)
. 9
SH
* 'S
C\J
I W- Li. 0
bao
54
is
c
4- IS
ii -i4-..
44
1.
I
IL
$
4i LI I
0
4A
*1
IM
I
I
4
0
I
11
(
Cd-
OH
(t II
I
'
4
F
p
It
I
r"
55
4 V
C\J
0
0
Vd H
II,
J 'I
UZI
I ~ e
eo
s
lp
K
'
CO.
iO
Q)0
N
I.
I
~I H
4f0h%
I
-
W TF
001 H
I rN 40~ 41
I
~4~4CO'
OWE00
It 11 CHJ
H
'I
I 0 40
b0
I K~l OH
rd
d-a L
q
57
I
'1~
1 4 in. , ~I.
II)
4$ p
II -. S
IF A S i~. j
V
lv I"
Sm-
LI 40
1* CH
Z4
4.
i,
i S
Lq
I *~ I. a)S
rdS
(1)
b
I
4I
4 0r-
*
KS
L.
~Ii' V I'
.1
''1
U
58
OIL- A& -Ahk
Ii) 1~~ H
'I
40
)
&
I,
'p
&
Si
11 CH
~ ~ '!'I co*
~~'~L!
K:
2
II
'I-
cc,, ~
0
0
rd
i)
.5'
U 0
V bD
I
~ ~ U1
59
4
4
I
-VY
C\J
CMj
0
44
H
C'
I p
g..9 4 Ci)
4-3
%_4a
4' 't 4-)
ar
mm home.
Now.
6o
-_Ip- _L S
-
4p
9
t
K p
CMj
CMj
i iq~
0
CM
ii
S
H
Ir
'A 4
ti
4)
IVA
a)
I
q
S
L
h IH
p
rd
j
A.
4
'
ol
I
61
F-
fz.
* U (Y)C
I-oN 'Cd
NC
0
*Q
I~Nj b.0
(D
- N0
62
-RPM" 4ammm
Ti
I~ I
1I
*H
I
)
0 \
-4
-4 "1
A ci)
E-p
I c
!:i
00
I 9
I' 4
.11 0
-H
'I
'1
I-
1 ro
[
J~4
63
ITV V4,
I
I
S
p
I
I
I
"1
i%
I.
a
N
p Hr,
'4 0Y'
a
a
I
ft4
.4,
a
)6
a
p
-~m ml' I
lqm
I 4 I
p
4 a
rd
h
p
V
j-t I.
I
I
I
1'
w2
l. 4k
i
0I
0
a
I
I a
a
S H H
II
I;
0ftI .1Ev
.
I
"
.4
I I
'I
I
11
*
q
I iN
Pt
IN
U
I I S
0
)
F" I
I
q
q
I '.
I
Kr
4
I
I
s
I:
Caft
'm
SIl
V
4 ;4
)
ob
q b0
N
I
'a
'.
'I
I H
p-
I
I
Iq
65
p9 ~ ~
,:T~tt111
I
0
Th~4 0
C\J
--4
ON
I
[ N
N ii
ma
I ii
'9
A sj '4
-
)
S
N i S
pm
'V
k N I 'II
I
I'
I
I'
'4
ci)
S N I Ihq
ci)
N
4-)
I 4. P0
rd
10
4
S H
'Ii
I I1I I1 I I1 I I1 I I1 I%1
4
I21 H
) I Hd
66
Chapter II
STRUCTURE AND FORM OF THE PIECES

IN SANTA EULALIA M. MD. 7
The Villancico
A villancico may be considered both a musical and a poetic
form whose parts are often the work of one person. Structurally, "the
villancico belongs to that type of lyric poem which is characterized by
the repetition of an introductory refrain in combination with a stanza
or stanzas according to a recognized pattern." 1 The term "villancico"
is derived from the Spanish villano, which in the Middle Ages was the
official word denoting a serf, or individual of humble origin. In its
original sense the diminutive form "villancico" referred to songs com-
posed for and sung by the folk.2
The development of the villancico can be traced from as early
as the Middle Ages, as has been shown by Isabel Pope in her very thorough
article, "Musical and Metrical Form of the Villancico. The villancico
appeared as one of the most important forms of secular music in Spain
during the Renaissance, the time of its most perfect flowering both
poetically and musically. While in its strictest sense the term refers
1. Isabel Pope, "Musical and Metrical Form of the Villancico; Notes on

Its Development and Its Role in Music and Literature in the Fifteenth
Century," Annales Musicologiques II (Paris, 1954), 190-92.
2. Ibid., 191. 3. Ibid., 189-214.

67
to a poetic and musical form intended to be sung with or without

in-
strumental accompaniment, the word was also frequently applied
in the
sixteenth century to purely instrumental pieces which were
variations
on the melody of a well-known villancico.
By the end of the sixteenth century villancicos with sacred
texts sung in Spanish were being performed in the churches by

the
faithful, especially at Christmas time and also on the
occasion of
other church festivals. Ecclesiastical authorities often frowned upon
their use, and royal decrees prohibited them at various times

because
of their secular origin. The custom, however, "continued in many churches
in Spain until the early years of the nineteenth century, and

until the
present day in some churches in Latin America. Villancicos were often

interpolated in the Offices and the Mass, and by the eighteenth
century
had developed into a type of cantata with an opening chorus,
interspersed
arias, and a choral ending.6
Formal Structure
As was mentioned earlier, about two-thirds of the pieces in
Santa Eulalia M. Md. 7 are considered to be villancicos. Musically and
4 bid. , 189q-5. Ibid. , 189-90

.
6. Juan Orrego-Salas, "Villancico," Harvard Dictionary of Music (Cam-

bridge, Massachusetts, 1969), 903. See also the translations from
Isabel Pope's "Villancico," Die Musik in Geschichte und Gegenwart,
14 vols., ed. Fredrich Blume (Kassel, 1949-68), XIII, 1628-31, and
from Alfonso Mendez Plancarte's Villancicos y Letras Sacras, Vol. II
of Obras Completas de Sor Juana Ines de la Cruz (Mexico City, 1952)
xxx-xlv, in Robert Stevenson's Christmas Music, 3-5.
68
poetically they are similar to the secular villancicos

found in the
Cancionero Musical de Palacio7 which was the basis of Pope's

summary
of the form. Her outline of the formal patterns derived from the Can-
cionero, which was compiled in the late fifteenth through sixteenth
centuries, has provided the basic pattern for the following

discussion
of the villancicos in M. Md. 7.8
The spontaneous folk-like air of the villancico is conveyed

by
an introductory refrain referred to as the estribillo
(= refrain), which
sets the tone and theme for the whole piece. The estribillo is composed
of a couplet, tercet or quatrain, and is so indispensable

that it alone
was sometimes called a villancico. The poetic idea presented in the
estribillo is developed in succeeding stanzas called coplas.

A copla is
divided into two parts, the first being the mudanza (= change)
and the
second the vuelta (= return). The mudanza presents a new melody, and a
rhyme pattern which is independent from that of the estribillo.10 The

vuelta returns to the rhyme of the estribillo. If the estribillo is
not monorhymed, but has two rhymes, the vuelta often returns to the
second rhyme. The last verse or two verses of the vuelta may in some
cases repeat not only the rhyme of the last or last two verses of the
7. Higinio Angles, ed., Cancionero MusicaZ de Palacio, Vols.. V, X of

Monwnentos de la Misica Espanola (Barcelona, 1947, 1951).
8. Pope, "Metrical and Musical Form," 194-95.
9. Tbid., 193, 211. 10. bid., 193, 202.

69
estribillo, but may repeat them in whole or in part as a "true re-
frain."11 The melody of the vuelta repeats that of the estribillo
and is sung to the last verse of the independent rhyme and to the
verse or verses which rhyme with the estribillo or which are repeated
from the estribillo.12 In the following diagram of the simplest type
of villancico, that which has a couplet estribillo (Figure 15), it will
be observed that the repetition of the rhyme and music of the estribillo
are not simultaneous: 1 3
Figure 15.
Copla
Estribillo Mudanza Vuelta
Text:
I-E
a
-1 - I ]
a b b b a
Music: A B C C A B
Estribillo Mudanza Vuelta
Copla
This lack of concurrence between its musical and poetic repetitions
constitutes an asymmetrical vuelta and is an essential characteristic
common to all villancico types. By means of returning to the melody
of the estribillo while singing the last verse of the independent rhyme,
the copla is bound together as a unified whole instead of being stiffly
divided into two unrelated sections.l14
11. Ibid., 201-02. 12. Ibid., 202.
13. Ibid., 195-96. 14. Ibid., 197.

70
Although asymmetrical vueltas are typical in villancicos,
cases of perfect symmetry do occur. It is especially rare to find
parallel musical and poetic vueltas among villancicos with the couplet
15
estribillo, but such an arrangement is found in No. 3, "Esta es
gena de amor llena" (Figure 16). It is a variant of the simplest
villancico type diagrammed above (Figure 15), having a monorhymed tercet
in the mudanza of each copla, and vueltas which return to the second
rhyme or the actual words of the second verse of the estribillo.
Figure 16. Poetic and musical form of No. 3.
Text Music
a Esta es gena de amor llena A7
Estribillo Estribillo
b esta es gena de amor B
aquanto ay en esta gena C
Mudanza a es amor ya amor se ordena C Mudanza

Copla Copla
Ca gena de la gloria buena CC
Vuelta b esta es gena de amor BJVuelta
(c) gena de [a~mor quia junsta C
Mudanza c con el amate amato C Mudanza

Copla Copla
c de amor con amor ques sato C
Vuelta b y de amor a su sabor BJVuelta
15. Tbid., 197.

71
d que nagio tal gena diene C

Mudanza d aunque a totas las mandiene C Mudanza
Copla
Copla
od esta sola nos conviene C]
Vuelta Lb porque oncluye a su sator B] Vuelta
The diminutive No. 5, "Virgen madre de dios," is a

variant of this type
in that it consists of only a couplet in the introductory
estribillo.
Villancicos with tercet estribillos appear frequently in
Santa
Eulalia M. Md. 7. In the Cancionero Musical de Palacio the tercet
estribillo is by far the most usual and can be found in two

main types
of villancicos which differ only in the rhyme schemes of their
mudanzas.
Both tercet types have asymmetrical vueltas and use a middle
truncated
verse in the estribillo called a pie quebrado which allows greater
flexi-
bility in musical treatment as well as a more developed poetic
form than
the villancico introduced by a couplet estribillo. 16 In M. Md. 7, Nos.
10, 20 and 21 (Figure 17) exactly duplicate the musical and poetic form
of one of these two main types, and Nos. 6, 19 and 22 have only
slight
variances in the rhyme schemes within their mudanzas. Nos. 2, 3, 4-1
and 8 show less similarity to the main types of tercet estribillo vil-
lancicos, but can still be considered variants of those forms.
16. Ibid., 197-98.

72
Figure 17. Poetic and musical form of No. 21.
Text Music
a Alegria pecadores: A
Estribillo b ques nacida B Estribillo
b de quien naze nuestra vida c
c de la Real generacion D
Mudanza I
d de david y de juda
d naze otla que nos da D

Mudanza II Mudanza II
Copla, c Nuestra eterna redemcion E Copla
Fc maria consolacion A
Vuelta b escogida B Vuelta
I Lb de quien naze nuestra vida c
Villancicos with (uatrain estribillos were equally as popular as
the tercet type in M. Md. 7, but there is only a small group of the
quatrain type in the Cancionero Musical de Palacio. The majority of
those found in that collection have the typical asymmetrical vuelta, but
a few illustrate complete musical and poetic symmetry.1 7 One form of the
quatrain type with asymmetrical vueltas is illustrated in Figure 18:
17. Ibid., 199-200.

73
Figure 18.
Copla
Estribillo Mudanza I Mudanza II Vuelta

Text: a b a b c d c d :d b a b
Music: A B B A
Estribillo Mudanza I Mudanza II Vuelta
Copla
Of the villancicos with quatrain estribillos in our manuscript Nos. 1
and 25 have asymmetrical vueltas. However, their vueltas are unusual
in that the rhymes rather than the melodies of their estribillos return
first; this is opposed to the situation seen in the typical asymmetrical
vuelta diagrammed above (Figure 18). The estribillos and mudanzas in
these two villancicos are similar to those in the diagram.
Only one piece in the Cancionero Musical de Palacio duplicates
the form of the quatrain type of villancicos in M. Md. 7 which have
symmetrical vueltas. 18 These are Nos. 12, 13, 16-1 (Figure 19) and 35.
Of these, No. 35 has a shorter vuelta, but all four have a true refrain.
Figure 19. Poetic and musical form of No. 16-1.
Text Music
a muestre la tierra alegria A
b vistase de gloria el suelo B
Estribillo Estribillo
b Oy quel acorde del cielo C
a celebra su eterno dia D
18. Tid., 200.

c guarda el mundo la memoria E
Mudanza I Mudanza I
d El ser quel es dio en la tira F
dy alla en el cielo sencierraE

Mudanza IIjMudanza II
c La prezenciaa de su gloria F
Copla Copla
a vistase pues de alegria A
b E memoria desto el suelo B

Vuelta Vuelta
b Oy quel acorde del cielo C
a celebra su eterno dia D
Nos. 11, 28 and 31 have quatrain estribillos, but are variants of the
two forms discussed above (Figures 18, 19) with highly irregular rhyme
patterns.
There are two villancicos in the manuscript which have not been
included in the couplet, tercet or quatrain estribillo classifications.
The first is No. 27-1, whose estribillo and three coplas could each be
considered to contain either one verse or two, depending upon whether or
not the lines of verse are divided. The second is No. 36, whose corrupt
Nahuatl text obscures the poetic form, thus making classification difficult.
Villancicos may vary in texture from one to twelve voices, and in
some several of the parts may be played by instruments rather than being
191
sung, but the villancicos in Santa Eulalia 1. Md. 7 are all of the four-
part variety. The estribillo of a villancico is conventionally sung by a
chorus, and the mudanzas of the coplas by a soloist or soloists. All or
19. Stevenson, Christmas MUSic, 3.

75
part of the vuelta is sung by the chorus, which reinforces

the refrain
-
stanza - refrain pattern of the villancico.20 Part-singing of the kind
practiced in Spain was unknown to the natives of Latin America

before
the Conquest, but their enthusiasm and aptitude for studying
European
music enabled them to sing polyphony reasonably, and in

some cases
amazingly well soon after their training began.2 1
In Spain, villancicos accompanied both religious and secular
dances.22 This use was particularly associated with pastoral plays and
autos sacramentales which ended with the singing and dancing of vil-
lancicos .23 By the mid-sixteenth century the enormous popularity of
the religious autos had spread to Latin America, where they were intro-
duced into the colonies by missionaries.24 Even though Christian men and
women no longer "danced promiscuously together," the composition of

dance
villancicos for church use gave Indian chapel masters the opportunity to
express themselves "in dance measures as vigorous as any that their an-
cestors may have known." 2 5
20. Robert Stevenson, Music in Mexico; A Historical Survey (New

York,
1952), 139.
21. Stevenson, Aztec and Inca, 119, 154-66.
22. Isabel Pope, "Musical Development and Form of the Spanish Villancico,"
Papers of the American Musicological Society (New York, 1946), 13.
23. Pope, "Musical and Metrical Form," 192.
24. Juan Orrego-Salas, "Auto," Harvard Dictionary of Music (Cambridge,

Massachusetts, 1969), 66. See also Stevenson, Christmas Music,
4, 5, and Stevenson, Music in Mexico, 58.
25. Stevenson, Aztec and Inca, 207.

76
Solving the problem of accompaniment of the villancicos of
M. Md. 7 requires knowledge of performance practice in Spain and the
New World during the sixteenth and seventeenth centuries. This together
with some reports of musical activities in the Mayan area of Central
America at, the time of the manuscript's compilation will allow us to
deduce something of the instrumental practice.
Noncontinuo instruments were important in the villancicos of
Spain and the New World. In some instances these instruments had in-
dependent parts with running lines, and in other cases simply doubled
26
the vocal parts. There are several surviving reports of colla parte
accompaniment in the New World which describe non-liturgical occasions
requiring polyphony, such as outdoor processions and fiestas. These
occasions were the most relished by humbler classes and the most stimu-
lating to Indian composers. The processions and fiestas often included
a choir singing villancicos or other popularized polyphony with parts
doubled by a flute choir, trumpets, and chirimias (folk shawms). Addi-
tional accompaniment was provided by large and small bells, teponaztlis
(two-toned slit-drums), and other drums such as the huehueti (upright
three-legged cylindrical drum with a tuneable skin drumhead which produces
two pitches a fifth apart and is played with the hands) (Figure 20).
The teponaztli resembles an elaborately-carved wooden barrel enclosed
26. Stevenson, Christmas Music, 21, 36.
27. Stevenson, Aztec and Inca, 199-200.
28. Stevenson, Music in Mexico, 137, and Stevenson, Aztec and Inca,
41, 158-59, 162-63, 165, 199-200.
77
at both ends and lying on its side. Two tongues created by an 232
shaped incision sound different pitches ranging from a minor third to
a perfect fifth apart. On the bottom side of the hollow, resonant
drum is cut a rectangular opening which increases the volume. The drum
is placed on, a support or on the ground and is played with a pair of
mallets which are tipped with rubber (Figures 20, 21).29
Cathedral capitular acts and instrument inventories also name
noncontinuo instruments available for use with villancicos. Some of
these not mentioned above are the sackbut, cornett, violin, treble and
tenor viols, bassoon, rebeck, marine trumpet, and clarion.30
It was also common practice in Spain and parts of the New World
to use continuo instruments in villancico performance. Instruments in-
cluded in this category are the organ, portable organ, harp, guitar,
lute, cittern and bandore. 31 When present, the continuo part consisted
of an unfigured, textless line which merely duplicated the lowest vocal
part of the villancico, although in some cases it played a purely instru-
mental fourth part. Figured bass did not become common practice in Mexico
or Spain until the eighteenth century.3 2
29. Stevenson, Music in Mexico, 9-10. Marshall Saville's The Wood-

Carver's Art in Ancient Mexico (New York, 1925), contains numerous
drawings and photographs of teponaztlis and huehuetls.
30. Stevenson, Christmas Music, 28, and Stevenson, Music in Mexico, 148.
31. Stevenson, Christmas Music, 28, and Stevenson, Music in Mexico, 61,
148.
32. Stevenson, Christmas Music, 21-22, 36, and Stevenson, Music in

Mexico, 143.
78
Figure 20, Musicians playing the teponaztli and the huehuetl,
Figure 21. Carved teponaztli,
r7
79
In Latin America the Indians themselves played all of these
instruments. In part because of the local tax liability which musicians
were not subject to, the churches became overcrowded with singers and
instrumentalists to the point that in 1555 the First Mexican Council was
convened by Archbishop Alonso de Montifar to alleviate the problem. The
resulting edict banished many of the singers and all instruments from the
church except the organ. The banished instruments were to be reserved for
outdoor processions and festival days of patron saints, and could no longer
be used for accompanying the liturgy. This ruling was not severely en-
forced, however, and Indian participation continued to flourish in instru-

33
mental church music during the sixteenth century.
Some of the instruments mentioned above were introduced to the
New World by the Spaniards, but others were already present before the
conquerors' arrival. Reports written by Spaniards during the first half
of the sixteenth century tell us that, among other indigenous instruments,
the Mayas played vertical flutes made of reeds, long thin wooden trumpets
with long twisted gourds at their ends, and the tunkul, another name for
the Aztec teponaztli or slit-drum. This is still an indispensable Mayan
instrument. Among the tunkules still used in Guatemala in the twentieth
century is the one seen by Oliver La Farge during his stay in Santa
Eulalia. He wrote that it was kept in the church near the altar rail
35
and was brought out for important dances.
33. Stevenson, Aztec and Inca, 163, 167-70.
34. Stevenson, Aztec and Inca, 18, 69-71, 108. See also Saville,
op. cit., 59-60.
35. La Farge, op. cit., 82, 86, and Stevenson, Aztec and Inca, 11, 25.
80
The Indians of Mexico became so skilled in the manufacture of
century it was
European instruments that by the end of the sixteenth
no longer necessary to import instruments from Spain. For example,
local
one of the instruments, the double-reed chirimla, was already in
manufacture by the mid-sixteenth century. It is possible that the-
least were able to

Mayas of Guatemala learned to make them also, or at
obtain chirimias from neighboring Mexico. The chirimia has long re-
mained one of their favorite instruments, and along with drums and
marimbas, it still provides music for dances, processions, burials, and
the fiestas of Lent and Holy Week in Santa Eulalia and San Miguel
38
Acata'n. Indians in the highlands of Guatemala may have continued to
own reed
build them since they are known to have also constructed their
tunkules in the present

pipes, six-stop wooden flutes, snare drums,and
century (Plate 15).
It seems likely that several of the noncontinuo instruments
listed in connection with sixteenth- and seventeenth-century villancico
to accompany the
performances in Spain and Mexico would have been used
in an
villancicos in Santa Eulalia M. Md. 7, either colla parte or
improvised style. One might conservatively suggest that the pre-Conquest
tunkul,and
Mayan trumpet and flute (or their European equivalents),
available.
other indigenous percussion instruments probably would have been
36. Stevenson, Aztec and Inca, 85, 172. 37. Tbid., 96, 158.
72-74.
38. La Farge, op. cit., 86-98, and Siegel, "Religion,"

81
The chirimla, on the basis of the Indians'

reported skill in building
copies of European instruments as well
as its present popularity in
highland Guatemala, may have also been used.
Although Pope Paul III's bull of January

15, 1534,allowed for
the employment of an organist who would
play every feast day at the
Guatemala Cathedral, it does not seem likely that so sophisticated

a
continuo instrument as the organ would
have made its way into the iso-
lated highlands by the year 1600. All bass parts in M. Md. 7 are texted
and there are no instrumental instructions
written in the music, which
makes any use of continuo instruments
even less likely. It would have
been more likely that groups of flutes playing
in harmony were used to
replace the sound of a pipe organ, as was done in some

areas of Mexico.41
Fabord6n
Four of the pieces in Santa Eulalia

M. Md. 7, Nos. 9, 26 (Figure
11), 34-1 and 37, have fabord6n settings. Fabord6n is the Spanish equiva-
lent of the Italian term falsobordone,which
is used to denote simple
homophonic settings in four parts of the
psalm tones and other liturgical
recitatives. h2 Both words are derived from the French fauxbourdon,
but
their differing musical style is evident
even though the definitions of
the terms became blurred during the sixteenth
century. From their first
hl. Stevenson, Aztec and Inca, 158.
42. Willi Apel, "Fabord6n," Harvard

Dictionary of Music (Cambridge,
Massachusetts, 1969), 304. See also "Falsobordone,"
305-06.
82
appearance in the fifteenth century, fabordones were written for four
mixed voices (soprano, tenor, alto and bass) instead of three, used
five-three instead of six-three triads, and had all of their parts
written out with none left for the performers to add by rule, although
it did become popular to improvise cadences according to the musical
cliches of the day. In his study entitled The Falsobordone, Murray
Bradshaw discusses several theories of the origin of the fabord6n and
its possible historical connection with fauxbourdon.4
Fabordones originated in Spain, Portugal and Italy, and were
most commonly used for the singing of psalms at Sunday Vespers.45 A
Gregorian psalm tone was placed in the soprano, tenor, or occasionally
the bass voice as a cantus firmus. The whole piece followed the form
of the psalm tone, dividing the psalm verse into two parts, then further
dividing these halves into two smaller sections known as the recitation
and the cadence. These were strophic compositions with the same music
sung to different verses, just as is done in psalmody. A single chord
was repeated as many times as necessary during the recitation section,
and clarity of text was given first priority along with good accentua-
tion. Near the end of the sixteenth century, some composers discarded
43. Murray Bradshaw, The Falsobordone: A Study in Renaissance and

Baroque Music (Stuttgart, 1978), 19, 21, 32, 34-35, 43.
44. ibid., 31-33. See also Ernest Trumble, "The Contratenors of

Fauxbourdon," Journal of the American Musicological Society
VIII/l (Spring 1955), 71-72.
45. Bradshaw, op. cit.., 20, 50.
46. Ibid., 21, 23-24.

83
the psalm tone cantus firmus, but retained the essence of the style,
that is, the declamatory repeated chords followed by a cadence.h4
There was a great growth in popularity of the fabord6n between
1580 and 1620. This style of composition found its way not only into
cathedrals and princely establishments, but also into village and parish
churches, monasteries,and convents as well.

h8 The growing trend toward
singing in parts at the end of the century, the need for simple music
that could be quickly mastered by any church choir, the simplicity of
the genre itself which made it easily adaptable to other mediums, and
the demand for clarity of text by the Council of Trent (1545-1563) are
all reasons that gave impetus to its widespread adoption. The require-
ments of the Council were inherent to fabord6n, which was
the most explicit, and perhaps most perfect musical reflec-

tion of ecclesiastical thinking on music: a completely
sacred orientation, clarity of text declamation, and sim-
plicity of musical style.h9
The end of the sixteenth century was the golden age of the fabord6n,
and by 1613 it was reported that "in these kingdoms of Spain the
singing of psalms in figured music is not customary except in falso-
bordone ,50
47. Ibid.,, 58.
48. ibid., 72-73.
49. Ibid., 46-48.
50. Pietro Cerone, El Melopeo y maestro (Naples, 1613); facsimile ed.

"Bibliotheca Musica Bonolensis," 11/25 (Bologna, 1969), Vol. II,
689, cited in Bradshaw, op. cit., 51.
84
The fabordones in M. Md. 7 have many characteristics in common
with those composed in Spain, including the basic features of four-
part texture and root-position triads with the third usually present.
The melodic movement of the upper three voices is primarily by step,
with their ranges not exceeding an octave. The bass usually moves by
leaps of fourths and fifths, although some movement by steps and thirds
does occur in M. Md. 7.51 As in the Spanish settings, those in M. Md. 7
begin with the reciting tone rather than the intonation, generally use
notes of only one or two rhythmic values and have more melodic motion
52
toward the cadence. The cantus firmus of each piece is unembellished,
though the other voices are often decorated at the cadences. 53 An attempt
has been made in these settings to properly accentuate the text, but an
accurate result was not achieved, especially in No. 26.
As was mentioned earlier, the singing of fabordones was asso-
ciated with Sunday Vespers. One of the most commonly set psalms in
this style was the first one of that office, Psalm 109, of which No. 26
is an example. Fabordones were also used in the Offices of Matins, Lauds,
Terce,and Compline, in the Office of the Dead, and as settings for li-
tanies. The remarks for No. 9 in Chapter III discuss its possible use
as a litany. The texts of Nos. 34-1 and 37 both come from Psalm 50,
and are discussed in Chapter III in connection with the Burial Service.
Fabord6n settings of the Miserere psalm were also traditionally used in
the service of Tenebrae.54
51. Bradshaw, op. cit., 27. 52. Ibid., 24-25.
53. Ibid., 54. 54. Ibid., 68-73.

85
Fabordones were sung a cappella, with either several singers to
a part, or a soloist on each part. An alternatim performance was usually
called for, in which the fabord6n verses were alternated with plainsong
verses.
The manner of singing the recitations is not at all certain,
and Bradshaw offers three known possibilities:
1) equal note values allotted to all syllables with attention

given to the natural accentuation of the words.
2) the strict use of two note values within a regular metrical

system.
3) beginning with the first, lengthening the alternate

and the final vowel of a word or phrase in a gracefulsyllables56
manner.
In all cases the cadences are exceptional. The regular use of meter
signatures and notated long and short values in M. Md. 7 points to a
variation of the second of these practices.
55. Ibid., 24-27, 66.
56. Tbid., 24-25, 105, 109-110.

86
Chapter III
COMMENTARY
Text Problems
Spani~sh and Latin
The spelling and usage of Spanish and Latin and the manuscript
style in which they are written in Santa Eulalia M. Md. ? together
produce problems sufficiently complex in scope to merit a separate
study. Since that is not possible in this project, I shall only
briefly discuss each type of problem encountered while dealing with
the texts of M. Md. 7.
The most evident problem, quite likely attributable to phonetic
spellings, is the continual interchange of alphabetic characters. After
dealing with the texts for a while this becomes less of a problem, be-
cause many of the spelling errors are consistent enough to make the
intended spelling obvious. Following is a list of the most common
substitutions, with an example of each:
Table II., Common Letter Substitutions

Found in Santa Eulalia M. Md. 7
b used for v: nueba = nueva r used for 1: angericar = angelical

c used for s: venerig = veneris s used for c: asercando = acercando
d used for t: lesdar5 = restart" t used for d: comita = comida
f used for p: favana = pavana x used for c: plaxer = placer
i used for r: estiella = estrella x used for E: confrexit = confregit
1 used for r: otla = otra z used for c: hazer = hacer
m used for n: redemgion = redenci6n z used for I: bazo = baj6
p used for f_: Luciperum = Luciferum
87
Not all of the letter substitutions in M. Md. 7 can be attributed
to phonetic or poor spelling. Certain situations are due to the "Old
Spanish" script style, in which the letter i stood not only for the
vowel i, but also for y and j.1 Initial V was usually written as u2
(uida = vida), and frequently phonetically confused with b3 (bida =
vida) (Figure 2). The differentiation between i and j, and between u
and v took place after the invention of printing, when Antonio de Nebrija
published his 1517 spelling book, Reglas de orthographia. During the

first thirty years of the sixteenth century, under the influence of
humanistic ideas and classical studies, "Spanish was stripped of much
of its ancient costume and began to emerge as the language of the present
day. "5 It was during the latter part of this period of change that Spain
conquered Guatemala (1524), and the conquerors began teaching the tran-
sitional Spanish to the Indians. Thus it seems likely that the condition
of the Spanish language and the script style were in part responsible
for the spelling problems encountered in Santa Eulalia M. Md. 7.
Omitted letters and syllables are to blame for some of the most
troublesome areas of the texts. When a word begins with the same letter
or syllable that ends the word immediately preceding it, that letter or
syllable is often elided. For example, sien doncella = siendo doncella
1. Jeremiah Denis Matthias Ford, Old Spanish Readings (New York, 1967),
239.
2. Tbid., 304.
3. Robert K. Spaulding, How Spanish Grew (Berkeley and Los Angeles,

1948), 79-80.
4. Ibid., 76, 137. 5. Ibid., 136.

88
(Figure 2), dios incorrompimiento = dios sincorrompimiento, and sum
altura = suma altura (Figure 9).
Reversed letters also appear in several instances, such as
garn = gran, and palcer = placer. The confusion between b and V com-
bined with a letter reversal results in bre = ver.
In this edition I have, with one exception, left all spellings
of Spanish and Latin texts as they were originally written. In situations
where omitted letters result in the absence of a whole syllable, most of
a syllable or the only vowel in a syllable, I have replaced the missing
letters, enclosed in brackets, in order to allow the text to fit the
music. I have also attempted to show upper and lower case letters as
they are in the manuscript, but it has been difficult to differentiate
between them in many cases, especially the letters D (Figure 12), E
(Figures 6, 7), L (Figure 11), S (Figures 6, 7, 9), and Y (Figures 11, 12).
In addition, it was difficult to differentiate between g and q in
M. Md. 7, because they were often made alike in the sixteenth century
(Figures 5, 6).6
Abbreviations common to the Spanish and Latin of the time are
numerous in the manuscript. In this edition I have spelled out all
abbreviations which are present in the Spanish and Latin texts of the
Original manuscript to allow facility in reading and singing. The most
common method of abbreviation omitted the letters i, n, m, or r, but
any number of letters might have been dropped from a word as long as
the context enabled the reader to guess what word was meant. A straight,
6. See, for example, Samuel A. Tannenbaum, The Handwriting of the

Renaissance (New York, 1930), 44, 64.
89
curvedor looped horizontal flourish above all or part of the abbreviated
word indicates a contraction. This flourish written above a vowel shows
the omission of a succeeding m or n (Figures 3-12), as in c tto = con-
tento, and c'dtar = cantar. The syllable que (Figures 4-6, 8, 10) is
represented by , or q. h, omission of larger groups of letters

T,
The
can be seen in Dus = Dominus, espiv = espiritu (Figure 13), glIa or =
gloria, gr = gracia, and n 2r = nuestra or nostra (Figure 2).
A second type of abbreviation frequently, encountered in M. Md. 7
uses superior letters to denote the omission of one or more letters or
syllables within a word. The titles Se~ior and Se5iora are written -S-
(Figure 3) and 'Sra respectively, while San is simply -S- (Figures 4,

to = sancto(a) or
11) with no superior letter. The abbreviation -S-
santo(a) is used a number of times (Figure 13). Proper names abbreviated
with superior letters in this manuscript are Maria and Juan, represented
by m 9 and Ju0 (Figure 4) or Zu 0 (from English Jn0 = John). 7
Brevigraphs form the third type of abbreviation used in the
manuscript. These are special symbols that are used to take the place
of whole syllables. According to Tannenbaum, they are derived. by modi-
fying an ordinary letter. These symbols occur infrequently in M. Md. 7,
and are as follows:: 0 = et used as the Latin word et; f = por used as
the Spanish word por (Figure 2);2. = rum as used in sancto= sanctorum
(Figure 11); 9 = us as used in splendorib = spiendoribus (Figure 11);
and '&= vir as used in'gen = virgen (Figures 2, 3, 10). The symbol
7. Tbid.1, 134. 8 . bid.,5 125.

90
Xpo = Christo or Cristo appears only once, and is related to the
9
chrismon, the Greek monogram of the word Christ.
Several symbols are used in the manuscript to indicate repe-
tition of the text: 1)" (Figures 5, 6, 10), 2)-Z. (Figures T, 9),
3) j (Figures 13, 14), ) // and 5)*1. Symbols similar to these are
often found in Continental manuscripts, but in M. Md. 7 they often
have variant meanings. Number five, for example, can be considered a
text repeat sign in M. Md. 7 only when it does not correspond with a
rest or congruence sign (.C) in the music; where it does appear with a
rest or the sign it shows congruence between the text and the music
(Figure 2).
The versions of the Spanish and Latin texts given later in this
chapter include footnotes which contain the following information:
1) corrected spellings of words whose identities are obvious

(based on Table II).
2) modern spellings (ex: coragon = modern corazz6n; Spanish

sancto(a) = modern santo(a); ygual = modern igual).
3) suggestions for possible orthography where words are un-

readable or unidentifiable (based on Table II and abbrevia-
tions).10
4) spellings in the different voice parts (represented by S, A,

T and B) which vary from the typewritten version (such as AB:
mercio; S: melecio).
When sources for Latin texts are cited, Liber Usualis is
abbreviated as LU.
9. Ibid., 85-86.
10. Assistance in reading the Spanish texts was given by Profs.

Malena Kuss and Philip Sn'yth. A few emendations were made after
Paul Borg's catalog of the manuscript.
91
Nghuatl
The highland villages of Guatemala have continuously

used
mutually unintelligible dialects within the Kanhobal
group of the
Mayan language, even into the present century (see p.
4). During
the sixteenth century, the Aztec Nhuatl was used
as a means of com-
munication in carrying on trade in the region. In time its use was
also extended to some of the musical texts of

the San Miguel Acatgn
repertory to facilitate the exchange of the manuscripts

among the
villages.
The language seen in these texts is not the elegant,

classical
Nghuatl of the early Aztecs. The corruption of the Nhuatl language
in Guatemala may have occurred in the same manner

that it occurred in
New Spain (Mexico),where the Indians imitated the

Spaniards' incorrect
pronunciation of the Aztec tongue. Because of this, only a general
sense translation of the texts and Pascual's inscription

(f. llr) can
be given without the aid of Nhuatl dictionaries contemporary
with
Santa Eulalia M. Md. 7.
The translations of" this inscription and the three

Nghuatl
song texts, and suggestions for their word and
syllable divisions were
made by Dr. Dow Robinson of Wycliffe Bible Translators,

Inc. His re-
marks concerning each text are contained in the commentaries
for those
songs. A few suggestions regarding Pascual's dedication
were offered
by Mr. Earl Brockway, also of Wycliffe Bible Translators.
I am
responsible for the treatment of the Spanish words in
this inscription.

92
There are several abbreviations in the three

songs (Nos. 9,
32-1, and 36) and in Pascual's inscription which
are similar in appear-
ance to those seen in the Spanish and Latin texts

(Figures 4, 13, 14).
Since the particular abbreviations used (the straight,
curved,and looped
flourishes) can represent many different letters
and groups of letters,
I have not attempted to interpret them unless the

word in question
happens to be written out in one of the voice parts.

A few abbreviated
Spanish words are used in the Nahuatl songs and inscription.
They are
included in the previous discussion of Spanish and
Latin abbreviations,
and interpreted in the same manner as abbreviated words

found in the
Spanish and Latin texts.
Remarks on the Texts and Music
1. "Victoria victoria quien a vencido" (f. lv-2r).

This villan-
cico for the feast of St. Michael describes Michael
in one of the roles
given to him by Christian tradition, that of a special

protector against
the attacks of Satan (Luzbel). Michael is traditionally regarded as the
chief of the archangels, and in the Western church

has two feasts . The
May 8 feast commemorates his alleged fifth-century appearance
at Monte
Gargano in Italy and his victory over Greek pirates
at Manfredonia. His
September 29 feast celebrates the anniversary of the
sixth-century dedi-
cation of his most ancient church, located on the Salarian Way
at Rome.13
(See also remarks for Nos. 12 and 13.)
12. Donald Attwater, A Dictionary of Saints (London, 1958),

189.
13. Frederick Holweck, A Bioqraphical Dictionary of the Saints
(Detroit, 1969), T
.
93
Robert Stevenson has published a transcription of this piece
in which measures 9-14 have become two nearly identical musical periods
of two short phrases each, through alteration of several rests and note
values
.
Este canto para fiesta de San miguel a 4 vozes [voces]
[Estribillo]: Victoria quien a15 vencido
el gran16 miguel que vengio
A luzbel17 el18 atrevido 1 9
y vengiendo del triunpho 20
copla: con zusto21 titulo dan
a miguel por la victoria
Contucta22 de capitan23
y premio eterna de gloria

24 .25
pues fue tan exclaregido
que al profundo deslibo2 6
[Repeat Estribillo]
J
I
A
Arjr
19 rr v r rr r r
15. [h]a 16. ATB: gra 17. Luzbel 18. el
19. S: atrebido 20. triunfo; B: triPho 21. justo
22. conducta 23. capitn 24. or fru 25. esclarecido
26. most likely derrib6, but possibly desterro, desvi6, deshizo, or

desdijo.
94
2. "yesuchristo nuestro dios" (f. 2v-3r). The Eucharist is
described as a sacrament in the text of this villancico. A piece has
been torn from the middle of the second stanza of the coplas, making
it difficult to understand the text.
The soprano part has been raised a minor third throughout the
piece because the C clef was incorrectly placed in the manuscript.
[Estribillol: yesuchristo27 nuestro dios28

30
por nos tar2 9 contento y uita
31 32 comita3 3
dasenos oy en cmt
34 ques pan te 35 selapinas

. 36
[Coplas]: 1) el
. .3738 .39
tiuino3 7 y angericar ali
40 4l . . 4
se ta yal hombre mortic~inlo
car[i]t[ad] mui caritat
[Repeat Estribillo]
2) es tiuino sangramento 4 5
Ly] comita supriL ]nate

46 47'
y siento onprem[ ] prata
48 ] uita
.30
con ello ser ota [
[Repeat Estribillo]
27. Jesucristo 28. Dios 29. dar 30. vida
31. dasenos; T: tasenos 32. Chloy 33. comida
34. 35. quejie]s pan de, or quejie]spante 36. serafinas
37. divine 38. angelical 39. alli 40. da
41. yal, or yajra]l 42. mortecino 43. caridad 44. muy
45. sacramento 46. siendo 47. hombre, or un premio 48. ot[r~a

95
3. "Esta es gena de amor liena" (f. 3v-4r). This villancico
is designated "for the feast of holy sacrament," which it describes as
the "supper full of love."
Measures 1-6 of the soprano voice have been raised a major
third, because the C clef in the manuscript was incorrectly placed for
the estribillo.
Este canto para fiesta de santo saclamento [sacramento]

a 4 vozes [voces]
[Estribillo]: Esta es gena de amor llena
esta es gena de amor
copla: 1) quanto50 ay en esta Qena
es amor ya amor51 se ordena
Qena de la gloria buena
esta es gena de amor
53
2) gena de mor5 2 quia junsta
con el amate amato54

55
de amor con amor ques sato
y de amor a su sabor
49. B: mormor in the repeat of this line
50. cuanto 51. y amor 52. Calmor
53. quien junta, or que junta
54. ama[nlte y amado, or amaEn~te el amado
55. quedIels saEn~to

96
3) que nagio5 6 tal gena diene 5 7
aunque a totas58 las mandiene59
esta sola nos conviene
porque oncluye6o a su sator61
4-1. "llegaos al convido" (f. 4 v).

Here is yet another
villancico for the Eucharist, this time describing the sacrament as
a "divine" or "holy supper full of mysteries."
[Estribillo]: llegaos al convido
desta
62
sancta
63
cena
de misterios llena
[Coplas]: 1) llegaos a comer

64
pues que dios os llama
lleno a de plaxer65
en divina cena
llegaos al convite
desta cta cena
de misterios llena
2) no tengays lecelo
veni
.69 peccadores 70
gusta7 1 estos savores 7 2
56. nacio 57. tiene 58. todas 59. mantiene
6a. incluye 61. sabor 62. de-Eeista 63. santa
64. Dios 65. placer 66. Esanlcta =Esan]ta
67. tengais 68. recelo 69. veni[d] 70. pecadores
71. :usta[d] 72. sabores

97
venidos del ciello7 3
pues alla
74 en e75 ciello
. T
T3
esta gracia plena
de misterios llena
4-2. (f. 13v). At the top is the soprano voice of No. 4-1,
defaced and with incomplete text.
5. "Virgen madre de dios" (f. 5r). Robert Stevenson calls
this piece, which begins "Virgin mother of God," a Christmas villancico.
Since the folio containing the soprano and tenor parts is missing, it is
impossible to know if this song originally included coplas. Without
coplas it could have been sung as a hymn consisting of two stanzas, but
if there had been coplas, the first of these stanzas would have served
as an estribillo, and the second (both verses or only the last one) as
a vuelta at the end of each copla.
Virgen madre de dios7 8
Virgen senora vos7 9
[Virgen madre de Dios]
Cosa soberana
6. "De la sagrada maria" (f. 5v-6r). The Christmas text found
in No. 6 describes Christ as "the Sun who expels the darkness by His
birth," and is one of six villancico texts set to this piece of music
7. cielo P74. al 75. eEl] 76. esta Cestal
77. Stevenson, Christmas Music, 9. 78. Dios
79. possibly senora&a] vos

98
(cf. Nos. 10, 19, 20, 21, 22). The main differences among the six
versions of the music in M. Md. 7 are some rhythmic accomodations for
the text in No. 20, and an independent tenor part in measure 5 of
Nos. 6 and 10; the four other settings duplicate the alto part at this
point.
[Estribillo]: De la sagrada maria80

.81 . 82
que oi nacio
. 82 .83 .814
nagio el sol que dios embio
Copla: el sol en su nacimiento
la tiniebla85 expelio8
.80 87
maria que lo pario
que dios in corompimiento 8 8
de la que gano89 el contento

.81 . 82
que oi nacio
nacio el sol que dios embio
7. "hoi nace la nueba estiella" (f. 6v-Tr). In this Christmas
text we find God described as "the true Sun and the Star that shines
upon us," and Mary as the "mother and virgin [who] has God as her son."
80. Maria 81. [hloy; A: i in repeat of this line
82. nacio; A: naci in repeat of this word 83. Dios
84. envi6 85. la[s] tinieblaEs] 86. expeli6
7. paro 88. DiosaAs ]in corrompimiento
39. gan 6
99
The song consists of four stanzas,

each consisting of four
verses, and was probably sung in the
manner of a strophic hymn. The
poetic form of the text is not immediately
clear in the manuscript,
because the first two verses of the third stanza were initially
omitted
and later added following the fourth
stanza. The practice of writing
two verses per line of text has also
obscured the form to some extent,
although each line is divided into two
verses by the sign fl which
corresponds with a congruence sign
in the music (Figure 2). After the
verses are put in their correct order,
the stanzas all follow the rhyme
pattern A B A B.
Robert Stevenson couples this Christmas

song with the Christmas
villancico which immediately precedes it in the manuscript
(No. 6).90
In this, he may consider the hymn-like
No. 7 to be a romance, since it
has several characteristics in common
with that form.91 The custom of
appending a villancico (No. 6) to a romance (No. 7) as a deshecha (poetic
conclusion) was common during the Conquest
century. 9 2 The metrical rela-
tionship of the two pieces follows the
general rule for the romance-
villancico combination: a duple- or common-meter romance combined

with
a villancico in triple meter;93 however, the
different keys of the two
pieces make it less likely that they were
used together.
90. Stevenson, Christmas Music, 9. See Table III for Stevenson's

foliation of these two pieces.
91. Miguel Querol Galvadg, "El romance polifonico

en el siglo XVII"
Anuario Musical X (1965), 111-20.
92. Pope, "Musical and Metrical Form," 205-06.
93. Querol Galvad6, op. cit., 120. See also Stevenson, Christmas
Music, 12.
100
1) hoi nace la95 nueba96 estiella9
que por lumbre tiene a dios98
Refrujente99 pura y bella100

101 . 102
virxen sancta que sois vos
2) dios98 es el sol berdaderol 0 3
y la estiella 9 7 que nos claca
es del mar norte y luzerol0 5
3) maria10 madre y doncella
por [sul hijo tiene a dios98

f108 .0109
nacio y sien doncella
110 .98
querida eposa de dios
111 112.
4) co la reyna esclarecida
3
y luna respalndescientel1
Remedio de nuestra bida114
la que nasce115 del oriente
94. hoy 95. AT: la omitted 96. nueva
97. estrella 98, Dios 99. refulgente; S: refujente
100. B: pu lla 101. virgen santa 102. ATB: bos
103. verdadero 104. [alclara 105. lucero
io6. all 6 107. Marfa 108. naci6
109. sien[do] 110. e[s]posa 111. co[n]
112. reina 113. resplandeciente 114. vida
115. nace
101
8. "Dios es ya nagido" (f. Tv-8r). The text of this Christmas
villancico speaks of the "God of Israel" being born among us of a virgin.
[Estribillo]: Dios es ya nagido
entre nosotros aca116
dios "17. es nagido ya
[C]opla: 1) Dios de ysrael1 8
que jamas119 abra20
Dios es nagido ya
[Repeat Estribillol
2) mas121 lindo estrellas1 2 2
23
A nagido el'.
De virgen doncella
[Repeat Estribillo]
3) [mas121 lindo estrellas1 2 2
23
A nagido el]l
Es mas linda y bella
[Repeat Estribillo]
9. "fy technepa sacramento dios" (f. 8v-9r).
This text is
"fairly obvious 'trade' Nhuatl of 1 6 th-century Middle America; syllable
breaks follow regular phonemic rules for Nhuatl. Some word meanings
116. aca 117. Dios 118. Israel
119. jams 120. abrg. 121. mgs
122. [quel-.estrellas 123. el

102
[are] clear--others [are] confused by orthography or local 'idioms.'1,l24
Due to the corrupted condition of the language, word division throughout
the song is only approximate.
Several features in the text and music may classify this piece
as a litany. The text is a supplication addressed to God at the exposi-
tion of the Blessed Sacrament, and is sung in the simple chordal style
(fabord6n) that is sometimes used when a litany is sung by an entire
church congregation.12 5
The last eleven notes of the tenor part were missing from the
manuscript because of a torn folio. This and the several other missing
notes within the other three parts caused difficulty in the reconstruction.
Only the first stanza was underlaid, and care needs to be taken in setting
the remainder of the stanzas because of their differing lengths. Recon-
struction was made more complex by the following pitch problems (see
critical notes):
Soprano: Notes 1-7, 9 and 10 of section 1 were originally written

one step too high. Notes 11-13 and all of section 2 re-
turn to correct pitch.
Alto: Notes 12-14 of section 1, and notes 1, 2, 4 and 5 of

section 2 were originally written one step too low, with
the correct pitch returning on the final note of section 2.
Bass: Notes 1-8 of section 1 were originally written one step

too high. Notes 9-13 of section 1 and notes 1-4 of section
2 return to correct pitch,
124. Letter from Dr. Dow Robinson, May 12, 1980.
125. Willi Apel, "Litany," Harvard Dictionary of Music (Cambridge,

1969), 485-86.
103
With the raising and lowering of pitches in the appropriate
sections and the filling in of missing notes, this piece can be recon-
structed in a manner which suggests that the bass line may have originally
been similar to the formula for Tone I.
Text of No. 9: General sense of text:
1) y technepa sacramento 1) And on that sacrament of

dios oncicama God sing
val tic tlatlaul tic912 6 come, we pray to Him
2) ceca y tevel y tech yal 2) [ ] and strengthen

chicavo our hearts
val tic tlatlaul tic6 come, we pray to Him
3) to naca yo quichipava 3) cleansed our body
val tic tlatlaul tic'E come, we pray to Him
4) no ch ne miliz melavac 4) [ ] straighten
val tic tlatlaul tic? come, we pray to Him
5) y tlas cali nepaca 5) and [E ] home there
val tic tlatlaul ticg come, we pray to Him
6) hostica y tech ano ne qui 6) we want the Host in us

val tic tlatlaul tics come, we pray to Him
7) y nixquixtiz ne qui 7) and I want to be saved
val tlie tlatlaul tic9 come, we pray to Him
126. According to Dr. Robinson, tic9 is an honorific.

10. "Qy es dia de placer" (f. 9v-10r). Robert Stevenson
published this piece as a Christmas villancico.127 The text invites

everyone to sing, dance and rejoice on this
"day of pleasure'" and see
the "mysteries of great ecstacy" (cf. No. 6).
[Estribillo]: Oy128 es dia29 de plager:130
y de cantar
via.131 todos 132 a bailar1 333
[Copla]: Regozaemos34 este dia1 29
por ser: de tan135 palcer136

137 138 139 140
Pus en el tenemas: que bre
misterios de garn 141 alegria 142
comengemos con melodialh3
y de cantar
via1 3 1 todos 3 2
a bailar1 3 3
127. Robert Stevenson, "European Music," 348. See also hi:s Christmas
MusiC, 9.
128. [H]oy 129. dia 130. 5: palmer
131. venid; AT: bia in repetion of this word
13. S: dodo, in repetition of this word
133. AB: baylar 134. Regocijamos 135. tan[toI, or tal

136. placer 137. Pu[e]s 138. el
139. tenemos 140. ver 141. gran
142. alegria 143. melodfa

105
11. "Asi andando: El palto" (f. lOv). The story of Christ's
birth is told by Mary in this Christmas villancico. She tells us that
He was conceived inside her in Nazareth while the world awaited

Him in
Bethlehem, and says that she "gave birth without pain [and] with
much
ecstasy."
The copla music uses a four-fold repetition of its one phrase
in order to accomodate the four verses of the stanza, but its repeats
are not written into the manuscript (Figure 3).
[Estribillo]: Asi14 4 andando: El paltol4 5
se me va asercandol1 6
andando asi quedando
virgen pario148
copla: Sin dolor pari149 con mucha alegria150
15115
y en agareth al Senor que de los gielos venia 1 5 2
153 dial15 4
fue mi vientre concebido este dia
el mundo lesta1 5 5 esparandol56 E157 bethlenl5 8
[Repeat Estribillo]
12. "El fiel peso y medida" (f. llv-12r). Here is another
text for the celebration of St. Michael's feast. It concerns an
144. Asi 145. parto; T: pardo 146. acercando
147. S: andado 148. pari6 149. par
150. alegria 151. [Nlazareth 152. vena
153. fuejen] 154. dia 155. le[elst6.
156. esperando 157. en 158. Beln, or Bethlehem

106
additional office given to him by Christian tradition, that is, the
calling from earth of meri's souls for judgment. 159 (See also remarks
for Nos. 1 and 13.)
Measure 7 contains one of the few examples of coloration in
Santa Eulalia M. Md. 7.
Este canto para fiesta de San miguel A 4 vozes [voces]
[Estribillo]: El fiel peso y medida:

i6o 161 .162
que en el uivir dios nos dio
. 163 164
En vos miguel 10 dexo
para medir nuestra vida
[Coplas]: Es peso que solo a diosl6 1
que avita165 en el alto gielo
Se le humille gielo y suelo:

. 163
Y ese miguel
.166 vos
teneis
pues ese peso y medida:
que vida y muerte causo:

. 163 lo dexo 164
En vos miguel
para medir nuestra vida
13. "Sed miguel fuerza y escuto" (f. 12v-13r). As in Nos.
1 and 12, this text deals with Michael the archangel. It describes
159. Holweck, op. cit., 710. 160. vivir
161. Dios 162. di6 163. Miguel
164. dejo, or dej6 165. [habita
166. tennis 167. caus6, or causa

107
his role as our protector against Satan, calling him the "strength
and shield of the sinner in death, . . . who always breaks the head
of the demon and deceives him." (See also remarks for Nos. 1 and 12.)
Measures 7, 14 and 30 contain examples of coloration.
One of the most clearly marked repeat systems in M. Md. 7 is
found in No. 13. The combination of congruence signs, custos marks,
and the first few words of the text to be repeated, along with the
rests placed after the soprano and alto parts of the estribillo, show
clearly that the last half of the estribillo is to be repeated following
the copla (Figures 5, 6).
este canto para fiesta de San miguel a 4 vozes [voces]
[Estribillo]: Sed migue 168 fuerza69 y escutol70
del pecador en la muerte:
que quien ay17 1 que sea tan172 fuerte

. 173 l74
que ante dios este seguro
coplas: Sois miguel1 6 8 tal fortalegal 7 5
y de tan alto valor:
que al demonio enganador:
quebrais siempre la cavega

178
y asi de quien sois el muro
168. Miguel .169. SAT: fuerga 170. escudo
171. [h]ay 172. SB: ta 173. est6
11. TB: scuro; A: sequro 175. fortaleza
176. enganador 177. cabeza 178. asi

108
segura lleua1 ' 9

la fuertel8 o
que quien ay que sea tan1 7 2 fuerte
que ante dios estelT3 seguro174
14. "1principatuSY" (f. 13v-14r). This piece appears three times
in the San Miguel Acat6'n repertory. The Santa Eulalia M. Md. 7 copy has
the title or text incipit "principatus." The San Juan Ixcoy copy (See
Table III for the location of this and the following citations.) is en-
titled "0 gran principe," while the San Mateo Ixtata'n copy is without
title or text incipit. The harmonization of the former varies somewhat
from the copy in M. Md. 7, while that of the latter is quite different.
Both concordances have a written out repeat of measures 5-10, but M. Md. 7
does not. The San Mateo Ixtatan copy has a flat before e in measure 9 of
the bass voice, which I have added to both the bass and alto voices of
that measure in Santa Eulalia M. Md. 7.
Neither of the concordance manuscripts is dated, but the San Juan
Ixcoy manuscript is thought to date from about 1585 and to have many
characteristics similar to Francisco de Leon's work in Santa Eulalia
M. Md. 1 (dated 1582).18a This composition could therefore predate
Pascual's known term of activity in the area (1595-1635).182
15. "Domine ad ajuvando/gloria patri" (f. 14 v-15r). This text
consists of the second half of Psalm 69:2 plus the lesser doxology,
Gloria Patri. I t is the response to the versicle "Deus in adjutorium
179. lleva 180. or suerte 181. Lilly catalog cards.

109
meum intende," which is the beginning of Psalm 69:2. In the Roman
Catholic service, this versicle and response is sung at the beginning
of each Office (LU, pp. 250-51, 263-64).183
Sections 3 through 5 of the music contain some of the rare
instances of contrapuntal writing in M. Md. 7 (Figure 7).

184 185
Domine ad ajuvando me festina:
gloria patri et filio:1 86

187 ... 188
E spiritui sancto:
Sicut erat in pringipio18 9
et nunc et seper:190
Et in secula1 9 1 seculorum1 9 2
Amen: Alleluya 1 9 3
16-1, 16-4. "muestre la tierra alegria" (f. 16 v-17r, 18v).
The estribillo of this villancico is complete only in No. 16-i. Its
copla has been defaced and was recopied later in the manuscript where
it is now designated as No. 16-4. These have been combined in the
transcription in order to complete the piece.
No. 16-1 is designated "for the feast of All Saints," which is
183. Willi Apel, "Versicle," Harvard Dictionary of Music (Cambridge,

1969), 899.
184. S: Domjne 185. aEdijuvandum; T: aiuva ndo
186. Gloria Patri, et Filio 187. e[tl

188. Spiritui Sancto: A: spiritu sancto
189. A: pincipio 190. se~miper 191. s[aJecu la

192. slaleculorum 193. Alleluia
110
solemnly celebrated on November 1. All those martyrs, confessors and
virgins who have been formally beatified and canonized by the Church,
those whose names are entered in the various martyrologies or whose
cultus is of local observance, and all those known to man or only to
God who have contended manfully in this life in whatever circumstances
and states of life and now enjoy the blissful vision of God forever in
19 (Cf. Nos. 16-2, 16-3.)
Heaven are commemorated on this day. 4
para fiesda [fiesta] de toto [todos] sancto [santos]

A 4 vozes [voces]
195 196 197 . 198
[Estribillo]: muestre la tierra alegria
200
199 suel
vistase de gloria el suelo
203
201 202 ciel
Oy quel acorde del cielo
20
celebra2o su eterno dia 5
cobla: guarda el mundo la memoria
El ser quel es dio206 en la tira207
8 2 09
y alla2 en el cielo sencierra
194. Alban Butler, Butler's Lives of the Saints, 4 vols., ed. Herbert
Thuxrston, S. J. and Donald Attwater (New York, 1956), IV, 232.
195. A: mustre 196. B: rra 197. S: tiera
198. alegr1a 199. vistase, or vlsta[n]se; S: vistas
200. : sulo 201. [H]oy, or Y
202, que ,E]l acorde, or que la corte; AB: corte
204. celebre 205. dia

2 03. A: cilo
206. quej61 es dio[s], or que les di6
207. ti[erira 208. alla 209. se-e]ncierra

111
. 210.
La prezenciaa de su gloria
. 199 .198
vistase pues de alegria
21 2
211 .
E memoria desto el suelo
201 4202 . 203
Oy2 quel acorde del cielo
204.25
celebra su eterno dia2 0 5
16-2. (f. i6r). Alto and bass voices of No. 16-1, scratched
out and textless.
16-3. (f. 17v). Alto voice of No. 16-1, scratched out and
textiess.
16-4. (f. 18v). See remarks for No. 16-1.
17. (f. 16r). Fragment with the text "Dixit Dominus platess"
18. (f. 17v). Fragment entitled "jesucristo nuestro dios."
19. "De la hermosa Rebeca" (f. 19v-20r). The Old Testament
book of Genesis (Chapters 25, 27, 28 and 32) is the source for this
villancico text which moralizes on Rebekah's choice of Jacob to receive
Isaac's blessing. (Cf. No. 6.)
[Estribillo]: De la hermosa Rebeca
ha escogido
nuestro zacob213 el214 su vestido
Copla: Alegria2l5 pues que bes2l 6

21 7
pecador lo que Res
218
pues lo que eres se hizo
.
210. presencia 211. E[n] 212. de-elste
213. Jacob 214. possibly el 215. Alegria
216. ves 217. Le]res 218. te

112
7
y te hizo lo que les2
De esau siendo219 quienes
ha escogido
213 21h
nuestro zacob el su vestido
20. "forgado de amor de amores" (f. 20v-21r). It is likely
The
that this piece was meant to be another Christmas villancico.
pure
text tells how God, "compelled by love," chose Mary, "completely
made Himself
[arid] more beautiful than the lily or rose, and through her
human." (Cf. No. 6.)
[Estribillo]: forgado220 d.e amor de amores

221 .22
dios embia22 2
2
llena de gracia a maria
225
copla: escogio224 la soberrando
today limpia toda hermosa

226 . . 227
mas que lirio ni que Rosa
y en ella se hizo humano
es dios221 y nuestro hermano

228 . 222
el que embia
3
1-ena de gracia a maria
21. "Alegria pecadores" (f. 21v-22r). Here is another
In it, sinners
villancico text that was probably sung at Christmas.
or De esa siendo, or Des haciendo

219. De Esau siendo,
221. Dios 222. enva

220. forzado
224. escogo 225. soberana

223. Maria
227. or m[ 6 ]s 228. 61
226. ms
113
of David
are urged to be happy because, "from the royal generation
and Juda is born Another, who gives us our eternal redemption."
(Cf. No. 6.)
[Estribillo]: Alegria229 pecadores:
ques230 nagida
231-
de quien naze nuestra vida
.232
Copla: de la Real generation
233 . 23k
de david y de juda
naze231 otla235 que nos da

6
nuestra eterna redemgion23
8
maria 237 consolagion23
escogida
231.
de quien naze23 nuestra vida
22. "Desde el gielo bajo Dios" (f. 22v-23r). Another Christmas
heaven through
villancico, this text tells us that the descent of God from
us life always." (Figure

the pure Virgin Mary "was for the sake of giving
9; cf. No. 6.)

239 .2k0
Desde el gielo bajo Dios
[Estribillo]:
su veniDa241
242.
fue por danos siempre vida
230. que-els 231. nace

229. Alegr a
233. David 234. Juda'

232. generacion
6
236. redenci n 237. Maria
235. otra
239. A: cilo 240. baj6; A: bazo

238. consolacion
: [::. vinida 242. da~r]nos

114
copla: bazo d e la sumaltura
por hazerse245 ygual246 a nos
el eterno y sacro dios247
hizose248 hombre en su natura

2)49
en maria virgen pura
su venida
fue por danos242 siempre vida
23-1. "Aquestan tonceria" (f. 23v-24r). This song is marked
"for the feast of Christmas." The text is quite corrupt. It has been
reconstructed on the basis of No. 23-2 which, though also corrupt, has
the abbreviations written out (Figures 8, 10). It says that the "mother,
being [a] virgin, gave birth to more than she has looked on or heard."
Robert Stevenson's opinion that this villancico was clearly
designed for dancing because of its reiterated rhythm J J, * J

20
is questionable.2 Its thirteen measure length and phrasing of 3 plus
2 plus 3 plus V- measures does not seem to lend it to that purpose.
There are no coplas given for it in the manuscript.
Este canto para fiesta te [de] navitat [navidad]

251
Aquestan tonceria
252 . 253.
mate siento virgen
.25)4 255 256 257
pario mas que a mira que oyo
243. baj6 244. suma-ja]ltura 245. hacerse
246. igual 247. Dios 248. hizose 249. Maria
251. AquE[l-estanEdo] doncella 252. madre 253. siendo
254. pari6 255. mats; B: ma 256. [hla miraLdo] 257. oy6

115
23-2. (f. 18r). At the top is the text for No. 23-1. The
bottom half contains dates and scribbles.
23-3. (f. lir). At the top are text and music incipits for
the alto voice of No. 23-1.
24. (f. 23v-24 r). This instrumental pavana in duple meter
is titled both "favana" and "fahuana" in the manuscript (Figure 10),
and its three strains, each repeated, do indeed fit the form of that
dignified dance. It is the only complete piece in Santa Eulalia M. Md. 7
that is without text or text incipit.
25. "Si tanta gloria se da" (f. 24 v-25r). The feast of All
Saints may have been the occasion for singing this text which exclaims,
"If such glory is given to the bodies on the earth, what glory remains
for the souls in heaven."
Robert Stevenson says this villancico in quick triple meter
serves as a Nachtanz to the slower duple-meter pavana that immediately
precedes it, and "conjures up the still prevalent scene of Chuj- and
Mam-speaking I ndians stamping out their costume dances in Guatemalan
church festivities, to the clatter of drums and other percussion."258
He has published a transcription of it which does not include the bass
voice in measures 22-45.259
[Estribillo]: Si tanta26o gloria se da:
A los261 cuerpos en el suelo:
260. TB: tanda 261. S: loos

116
6
que gloria se lestara:2 2
A las almas en el gielo
coplas: Si por las pobres casillas:
dondel263 os sandos264 moraron:
los Angeles abajaron:
de los soberanos265 sillas:
Higiendo266 mil maravillas:
Cum gloria de Hommano267 buelo268
[Repeat Estribillo]
26. "Donec ponam/Tecum pringipium/Dominus a dextris/De torente"
from
(f. 25v-27r). The text for this Tone VIII fabord~n setting comes
Psalm 109, verses 1, 3, 5 and 7 (LU, p. 133, verses 2, 4, 6 and 8).
and bass
The three incorrect spellings of "bibet" in the alto, tenor
b and V
voices of this psalm show not only the confusion between initial
at this time, but also the common use of initial u for v.

has been
If Santa Eulalia M. Md. 3 dates from about 1585 as
for No. 26 would

suggested,269 then the concordance in that manuscript
activity as maestro de
predate the period of Tomas Pascual's known
capilla (1595-1635).270 This would, of course, make the possibility
Pascual may
of his being the composer of this psalm setting unlikely.
262. restart; B: Lesdara 263. A: Dondes
265. las soberanas 266. Haciendo

264. santos; B: sanctos
or deo mano; A: de ommano 268. vuelo

267. de Humano;
269. Lilly cat. alog cards.
20. Otevensorn, Aztec and Inca, 206.

117
have been responsible for the occasional differences in pitch and
duration, and the numerous faintly visible added notes in the M. Md. 7
copy which can be seen when comparing it with the copy in M. Md. 3.
Several of these added notes appear in Figure 11 in the "ex utero"
section of both the soprano and tenor parts.
Donec ponam inimicos tuos:
Scaberum271 pedum272 tuorun
Tecum pringipium in die virtutis tue :273

n274 . 275 276
in splentoribus sanctorum:
277
Ex utero ante lugiferum genui te
Dominus a dextris tuis:

.d279ere 280 sue 281
278 in die
Confrexit reges
282 ? 83 28)4
De torente in via bibet:
285 .286
Propterea exaldauit caput
27-1. "Surrexit dominus alleluya" (f. 2Tv-28r). This villancico
was no doubt used for Easter or within the octave. There is also a
271. scabellum 272. ST: pedu 273. tutale
274. SAT: y 275. splendoribus 276. T: sanctuorum
277. S: luciperum 278. Confregit 279. AB: di
280. irlale 281. su~ae; A: suae omitted
282. tor r ]ente 283. SAB: uia
284. A: bibit; T: vibit; B: uibit
285. A: Probterea 286. exaltavit

p
118
Quem
possibility of its having been incorporated into the traditional
quaeritis Easter drama (see remarks for No. 31). Two complete copies
of the text and music appear in Santa Eulalia M. Md. 7 (cf. No. 27-2).
The text of the first stanza of the coplas is based on Mark 16:6-7,
in which the angel at Christ's empty tomb announced to Mary Magdalene,
and gone
Mary the mother of James, and Salome that the Lord had risen
to Galilee, just as he had promised.
The text of the second stanza is based on Luke 24:34. Cleopas
and another follower of Jesus returned to Jerusalem after having met
Him on the road to Emmaus. The two then found the disciples and other
followers who were saying that the Lord had risen indeed and had appeared
to Simon. The subject of this text suggests use in the simpler type of
287
to Enmaus.
Peregrinus dramas which deal with the incidents on the road
The third stanza text is a portion of the alleluia verse follow-
790), and states

ing the gradual for the Easter Tuesday Mass (LU, p.
that the Lord has risen from the grave.
cuilancicos [villancicos] de pascua Resureccion [Resurreccidn]
No. 27-1 No. 27-2
[Estribillo]: [Estribillo]:
288 . 289 .295 . 289
Surrexit dominus Surexit dominus
290
I1 290 alleluya
-leluya
287. William L. Smoldon, "Liturgical Music-Drama," Grove's Dictionary

(London,
of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom
1954-61), V, 327-28.
LSrexit 289. Dominus 290. alleluia

288. JB:
119
coplas: coplas:
291 . . .291.
1) Sicut dixi vobis 1) Sicut dixi vobis
290
alleluya290 alleluya
[Repeat Estribillo] [Repeat Estribillo]
292 293 292 . 0293

2) et paluit simonis 2) et paluit simonis
290
allaluya290 alleluya
[Repeat Estribillo] [Repeat Estribillol
289 296
dominus
289 te 297
3) Surrexit dominus de 3) Surxit
294 290 294 290
sepulchro alleluya sepulgra alleluya
[Repeat Estribiilo] [Repeat Estribillo]
27-2. (f . 34v-35r). See remarks for No. 27-1L
28. "0 virgen maria" (f. 29v-30r). Christmas is again the
theme in this villancico. The text first addresses Mary saying, "Oh,
Virgin Mary who gave birth to God, there is not another like you in the
world," and then describes Christ as "the gentle Lamb who is the son of
God [and the] light of my life."
The music for the soprano and tenor parts in No. 28 is identical
to the music for those two parts in No. 31 (the alto and bass parts are
missing from No. 31). In the transcriptions the soprano line was raised
a minor third because of the incorrectly placed C clef in the manuscript,
and the flat in the tenor key signature was moved to b from the original
291. dixilt] 292. paruit 293. Simonis
294. sepulcro 295. SurErlexit 296. Sur[re]xit 297. de

120
No. 28. The

d'. Although No. 31 includes coplas, there are none for
would require a sub-

adaptation of the coplas of No. 31 to this piece
stitution for their Easter text.
The final note of the bass part is the only use of a ledger
line in the manuscript. Beneath it is written "vasco" (= basso).

9
1) 0 virgen maria
299 . 300
que paristes a dios:
no ay301 en el mundo
odra302 como vos
2) el cortelor303 manso
304 . 300
que es hijo de dios:
30
lumbre de mi vida 5
306
dulce coragon
3) [el cortelor303 manso

30)4 . 300
que es hijo- de dios: ]
8
el es mi visita3
con mucha razon309
israel/gloria
29. "Et misericordia/Deposuit potendes/Susgepit
patri" (f. 31r-33r). This Tone VI setting of the even-numbered verses
299. pariste 300. Dios

298. Mar'
302. otra 303. cordero

301. Eh]ay
305. A: vi 306. coraz 6 n

304. STB: hiio
308. S: vesta; AB: vesida

307. el
6 ragon
309. raz n; ATB:
121
of the Magnificat (Luke 1:46-55; LU, p. 207) was probably performed
in the traditional style which juxtaposed them with the plainsong odd-
numbered verses. The Tone VI formula can be seen in its entirety in
the tenor voice of the doxology, and in part in the tenor and bass
voices of "Suscepit israel."
The Santa Eulalia M. Md. 7 setting of the Magnificat includes
verses 50, 52 and 54, but its concordance in Santa Eulalia M. Md. 5
also includes verses 46 and 48.310 Our version was undoubtedly con-
sidered complete by its compiler since it, like the M. Md. 5 setting
ends with the doxology. The only verses in both versions that exist
in four parts are the "Suscepit israel" and "gloria patri" of M. Md. 7.
In all other verses only two of the four voices remain (soprano and
tenor, or alto and bass) depending upon which folio is missing.311
No. 29 is one of the few examples of contrapuntal writing in
M. Md. 7; as with similar pieces in this compilation, it was apparently
borrowed from one of the earlier manuscripts, in this case M. Md. 5
which contains the date 1 589 .312 Hence Pascual, who is thought to be
the composer of the villancicos in our manuscript, was probably not the
composer of this piece.
310. A transcription of verses 46 and 48 from M. Md. 5 may be found in

the Appendix.
311. The transcription of No. 29 in this edition was completed with

the aid of a version prepared by Paul Borg.

122
[Magnificat] Anima mea dominum 313
Quia respexit humilitatem angille314 sue315

6
Ecge enim Ex hoc beatam me dicent omnes generationes31
Et misericordia ejus a progienie

317
in progenies
318
timentibus eum
Deposuit potendes31 9 de3 20 sede
et exaldauit3 21 humilles3 2 2
. 323 puerum 3214 suum 325

Susgepit israel
.326 327
recordatus misericordie sue
gloria patri et filio
et spiritui sancto32 8
30. "Ne recorderis" (f. 33v-34r). This text is the third
response of the second nocturn within the Office for the Dead which is
sung during Matins. The plainsong texts and music in the transcription
have been adapted from the Liber Usualis and the Roman Gradual, but the
313. Dominum 314. ancill ale 315. suCale
316. S: generagiones; T: generaciones in first statement of this word
317. progenie 318. A: timendibus in first statement of this line
319. potentes; A: podendes 320. B: te 321. exaltavit
322. humiles 323.1 srael 324. A: puerrum
325. A: suum ommitted 326. misericordiCale; ST: miserricordie
327. su~ale 328. Gloria Patri et Filio, et Spiritui Sancto

123
appear to be
polyphonic sections are as found in the manuscript and
harmonizations based on the sixth tone (LU, p. 1792. and GR, p. 94).
Paul Borg has found two published transcriptions and eight
manuscript concordances of the polyphonic setting of this Ne recorderis

9 Most of these concordances
response (see Table III for concordances).32
credit Crist6bal de Morales as the composer of the setting, but the two
Tarazona manuscript sources cite it as the work of Francisco de la Torre.

an
The Morales setting, as published by Pedrell,330 specifies
is sung
alternatim performance for the response, in which the polyphony
by four cantors and the plainsong by a chorus. The text, but not the
music, of the plainsong is included in that edition.
The Pedrell edition repeats the "Dum veneris" section immediately
before "Kyrie eleison," and repeats the 'kyrie" section following "Christe
eleison." "Dum veneris" is also repeated in the Liber Usualis, but is
followed by "Requiem aeternam" rather than by 'Vyrie," "Christe," 'Iyrie."
The M. Md. 7 copy does not indicate repetition of any of the sections.
Although much similarity exists between the Pedrell edition and
the copy in Santa Eulalia M. Md. 7, several differences are immediately
The most
noticeable when comparing these two versions of the setting.
Music Manu-
329. Paul W. Borg, "The Polyphonic Music in the Guatemalan
scripts of the Lilly Library." Dissertation in progressIndiana
University. Four of these manuscript concordances are discussed
in Robert Stevenson's Spanish Cathedral Music in the Golden Age
(Berkeley and Los Angeles, 1961), 13, 107-08, 127 n. 270.
I of Hispaniae
330. Crist6bal de Morales, Officium defunctorum in Vol.
Schola Musica Sacra, 8 vols., ed. Felipe Pedrell (Barcelona, 1894),
reprinted in 4 vols. (New York, 1971), 1-19.
124
extensive pitch differences occur in the first few measures of the
"Ne recorderis" section in all four voices. Most rhythmic differences
involve the unequal division of a larger note value, in either of the
versions, into two smaller note values in the other version to create a
repeated note or a passing tone (a becomes J# J). The only textual
differences are the text repeats within most polyphonic sections of the
M, Md. 7 version, none of which occur in the Pedrell edition. Another
difference is the tying of repeated notes in Pedrell's edition, while
there is no indication of this in M. Md. 7. Perhaps the repetition of a
pitch without a change of syllable in M. Md. 7 indicates the reemphasis
of that pitch rather than merely a long duration which could have been
shown just as easily through use of a larger note value.
Ne recorderis3 31
[peccata mea, Domine,]

.332
D veneris
[judicare saeculum per ignem.]
Dirige
[Domine Deus meus,
in conspectu tuo viam meam.]
Kyrie eleyson 3 3 3
[Christe eleison.]
331. T: Recorderig
332. S: Dun verig, dun veneris in repeats of these words; B: Dum neris
in repeat of these words
333. eleison; S: Kirie leyson; AB: Kyrie leyson

125
31. "Maria magdalena" (f. 35v). Although there are numerous
evident that it contains

unsolved problems remaining in this text, it is
on Easter morning.
the story of the three Marys at the tomb of Christ
magdalena"), while the

The estribillo concerns Mary Magdalene ("Maria
Mary the mother of Jesus
first and second stanzas of the copla mention
("et altera maria"). This

("la matre te Dios") and the other Mary
Dominus") may have been used
villancico, along with No. 27-1 ("Surrexit
trope Quem quaeritis
in an Easter drama stemming from the tenth-century
of the Mass for Easter.
which was customarily prefixed to the Introit
into a number of dramas
Through the centuries this trope was extended
The trope originally
with added scenes, additional music, and new text.
the three Marys at

covered the resurrection story from the arrival of
the angel and their declara-

Christ's tomb, through their encounter with
tion that the resurrection had occurred. The elements of the story
can be seen in the text of No. 31 as follows.

to the actual cross
In the estribillo, "cruz" could refer not only
the cross which was wrapped in

on which Christ was crucified, but also to
tomb to symbolize Christ's death

grave cloths and placed in an artificial
In the Quem quaeritis
and resurrection in ancient Easter ceremonies.
that the cross is no longer in

trope, the angel shows the three Marys
Lhe tomb.35
Ages (New York, 1940), 194-95.

334, Gustave Reese, Music in the Middle of the Easter drama in
See also the discussion of the development
Smoldon, op. cit.,, 318-27.
335. Smoldon, op. cit., 321.

126
One of the suggested readings for the letters "az," which
begin line two of the estribillo, is [h3az (= right side, or outside
of cloth). This word, when combined with "cama" (= piece of cloth
which is part of a cloak) at the end of the same line of text, may
refer to the grave cloths which the Marys hold up before the eyes of
6
the clergy as proof of Christ's resurrection.3
In the first stanza of the coplas, "amanece" (= dawn) gives
the time of the Marys' arrival at the tomb.
The third line of the second stanza, all of which was written
in a different hand (Figure 12), refers to Christ's tomb ("at monumento"
= ad monumentun, or a monumento = at the tomb). These words are in-
cluded in numerous versions of the Easter play, and introduce a section
sung by the three Marys in which they relate how they came mournfully to
337
the tomb and found that the Lord had risen.
The final line of the second stanza is "isus quen geris ti"
(= Jests quEilen qEuiieres tl, or Jesum quem qualeritis = Jesus whom
you seek). These words originate in Matthew 28:5 and Mark 16:6, in the
dialogue between the angel and the women at the tomb, and are the opening
words for the Quem quaeritis trope.
The "Surrexit Dominus" villancico (No. 27-1) also contains
elements of the Easter drama. The estribillo corresponds to the part
336. bid.
337. Ibid., 322. An eleventh-century version of Quem quaeritis is

printed in Arnold Schering's Geschichte der Musik in Beispielen
(Wiesbaden, 1959), 5.
127
choir, "Alleluia!
of the dialogue in which the three Marys say to the
resurrexit Dominus! ," immediately after receiving the news from the
that is sung
angel. The third stanza of the coplas contains the text
cloths. The first stanza

by the Marys after displaying the grave
resurrection. The text
is part of the angel's announcement of Christ's
in the remarks for
of No. 27-1 and its other possible uses are discussed
that villancico.
dramatic
Since the story of the three Marys was a favorite
3 3 9 the tradition of the Easter drama was probably

subject in Spain,
making the use
carried on in the Spanish colonies of the New World,
of these two villancicos in such a drama a distinct possibility.

is identical
The music for the soprano and tenor parts in No. 31
clef and key

to the music for those two parts in No. 28, including the
No. 28. The alto and bass

signature errors discussed in the remarks for
replaced by their correspond-

parts are missing from No. 31, but have been
ing parts from No. 28. No. 31 has a soprano copla which is not present
scratched
in No. 28. This copla has a portion which appears to have been
out in the manuscript (Figure 12). The transcription omits this portion
melismatic than
because its use results in a style which is much more
tht of the other villancicos in Santa Eulatia M. Md. 7.
338. Reese, op. cit., 194.
339. Ibid., 195.

128
[Estribillol: Maria magdalena 34o
quen bi3jDelya342 cruz
azel Deiya cama

.344 345 346
qui nino Jesus
coplas: 1) ya canta ya canta
el calloasc amanece:
8
asta qui sopblece
3149 te
350.
Dios
la matre
[Repeat Estribillo]
2) et altera maria3 5
'
352 .353 3514

ibat ti lucolo
at355 monumento
isus35 quen quieris ti
[Repeat Estribillo3
340. Marfa Magdalena 341. quejlen vi, queje]nv , or qu[ien vi
342. della = deje]la 343. [hlaz 61, [hiacer, or [h]aceJI6]l
344. camalalquii 345. nin'o; S: niyo 346. Jesu's
347. or casloasc; possibly carrasca, or carraca
348. [h]astaja]qu sopblece, [hasta quiso pblece, or [hZasta quiso,.

_)o]frece
349. madre 350. de 351. Maria
352. possibly ipan, iban, or ibas
353. t1, or t' 354. possibly luctuoso, or luctum
355. a, or ad 356. Jesus
357. quEiJen quieres ti, quilen quieres t, or quem quaeritis

129
32-1. "bay magalhi" (f. 36v-37r). Since the entire tenor part
and all but a fragment of the soprano part of this song have been torn
from the manuscript, it is likely that there are several portions of
their texts missing in measures 1-5 where the alto and bass parts have
rests. About one half of the text is also missing from measures 10-14
of the bass part. The word order in measures 12 and 13 of the alto part
is also conjectural due to both this lack of text in the corresponding
bass area and the complete absence of text in the concordance (No. 32-2).
The syllabification of this text is normal for Nchuati, but the
word meanings are tricky. More comparative materials are needed in order
358
to make a complete translation.
Text of No. 32-1: Partial translation:
C I [
bay magalhi F ] my house
C I [F I
tzet yechel magalhi I Imy house
nima xpuuh magalhi soon/quickly F I my house
yban ypat hata magalhi and on/in F I my house
zachol dios F IGod
hagan cazcahol dios F IGod
mag yu neneh that He us
ztoh quinal draw near
ma 359 .E IHoly Mary

go poh *S ta
358. Letter from Dr. Dow Robinson, May 12, 1980.
359. Santa Maria

130
32-2. (f. 40r). Alto and bass voices of No. 32-1, textless.
33. (f. 37v). Textiess fragment.
34-1. "tibi solid pecaui" (f. 38v-39r). The text for this
fabord6n setting is Psalm 50:6 (see remarks for No. 37). The spellings
in the different copies of this text within Santa Eulalia M. Md. 7 (cf.
Nos. 34-2 and 34-3, which are the only other two of the five versions of
this piece that have texts) are a good example of the interchangeability
between u and V and between i and j in Latin at the time this manuscript
was copied.
No. 34-1 No. 34-2
tibi soli pecaui36o tibi soli pecaui36o
et malum coram te fecit

361
et malum coran
367 te fecit'361
362 .363 36)4 368 . 369
ut justifigeris jn vt3 iustificeris in
sermonibus tuis sermonibus tuis
et uineas 365 cum juticaris

.. 366 et vincas 370ccm luticaris
. . 371
No. 34-3 No. 34-4
tibi soli pecaui 36o textless

. 361
367 te fecit
et malum coran
368 .. 0369
vt Iustificeris [in No, 34-5
sermonibus tuis textless
et vincas] cum juticaris
360. peccavi 361. feci 362. SAB: vt
363. T: justifigerris 364. in 365. vincas
366. judicar'is; A: juticalis 367. coram 368. ut
369. justificerils 370. A: uIncas 371. judicaris

131
34-2. (f. 39v). Soprano and alto voices of No. 34-1 with text.
34-3. (f. 42v-43r). Tenor and. bass voices of No. 34-1 with text.
34-4. (f. 37v). Soprano voice of No. 34-1, defaced and textless.
34-5. (f. 38r). Soprano voice of No. 34-1, textless.
35. "Abrase el reyno del cielo" (f. 40v-41r). The Immaculate
Conception is the subject of this villancico text which describes the
crowning victory of "mercy here on the earth" through the espousal of
"the King of heaven Eand] the Queen of glory." The description in the
copla of the angels carrying Mary in victory and triumph to be presented
to her Son "today" may indicate that this text was sung at Christmas.
The music of No. 35 appears three other places in the San Miguel
Acatasn repertory (see Table III for concordances). The text of the con-
cordance in Santa Eulalia M. Md. 3 is written in one of the native Indian
languages, and a large portion of it is given in Stevenson's catalog of
that manuscript. 3 7 2 Those in Santa Eula ia M. Md. 1 and 5 both contain
a text commemorating the feast of the virgin martyr Saint Eulalia of
Merida (born c. 292 A.D., died 304 A.D.), which is celebrated December
10.373
Pascual may have borrowed this music from Francisco de Len,
because M. Md. 1, dated 1582, contains a signed statement from de Len
saying that he "made this book of songs." M. Md. 3 and 5 are also
373. Butler, op. cit., 530, and Berchmans Bittle, A Saint a Day According
to the Liturgical Calendar of the Church (Milwaukee, 1958), 323.
132
and
thought to predate M. Md. 7 (1600), possibly dating from 1585
1589 respectively.374
375 376 377 378.
[Estribillo]: Abrase el reyno del cielo
379.
a la reyna de la gloria
380 381
pues mercio aca en el suelo
tal corona de victoria
copla: oy382 los angeles3

8 la lleva38 4
zunto385l 386caer con el alma
lleua victoria de palma
y a su hizo la presentan
380 381
pues mercio aca en el suelo
tal corona de victoria
36. "magalhi vinac Dios" (f. 41v-42r). According to Dow
Robinson this text is the most understandable of the three Nchuatl

of
texts in Santa Eulalia M. Md. 7, and is about the redemptive life
Luke. It
Christ according to the final chapters of Matthew, Mark and
the mass.389
is apparently a worship or praise song used along with
375. Abra[nlse
'74. Lilly catalog cards.
376. AB: el omitted 377. 1reino; AB: reyna
378. B: tel 379. reina; A: rena
381. ac4
380. mer[e]eci; AB: mercio; S: melecio
382. [h]oy 383. ngeles 384. lleva~n]
386. al 387. lleva[nJ 388. hijo

385. junto
1980.
389. Letter from Dr. Dow Robinson, May 12,
133
The musical form of this piece is confusing because of the
ambiguity of the custos marks following the soprano, alto and bass
parts. No rests are included for the alto, tenor and bass parts during
the soprano copla, and no text incipits are given to show what part of
the estribillo is to be repeated. Congruence signs (Q) usually precede
the custos marks in instructions for repetition in M. Md. 7, but in this
case the two are reversed, with the custos marks appearing first (Figures
13, 14). Due to this reversal, it appears that the repeat begins with
the first occurrence of the pitches corresponding with the custos marks
which immediately precedes a congruence sign in the music. This suggestion
results in a complete da capo of the estribillo following the soprano copla.
Text of No. 36: General sense of text:
[EstribilloJ: [Estribillol:
magalhi vinac dios a tu belen God made His house in Bethlehem

hiyuus
yus macoz cole locyuhul zcab coming from far away His inner
self/heart pierced
oxla hutex [along] His rough/difficult

road/trail
valnima valnima come quickly, come quickly,
valnima valnima come quickly, come quickly
[Coplal: [Coplal:
ma gii cobac chil that He bought [with] red [blood]
max vas hivinac that coming to be shamed/made

guilty
coc bues chicani vagil nos nac well, really He was dried out/
killed in His flesh
.134
despu -Sto 390 ca nisoe haq the Holy Spirit, on our behalf,
zcani will appear from nowhere
kamac yzmul vas kamac yzmul sing His glory, come, sing His
glory
ma ii cobac chil that He bought [with] red

[blood]
max vaz hiuinac that coming He was shamed/made

guilty
[Repeat Estribillo]
37. "miserere mei Deus" (f. 42v-43r). Psalm 50 is included
in the Burial Service of the Roman Catholic Church (LU, pp. 1763-64).
The first half of verse three, "Miserere mei Deus," is intoned by the
cantors, after which two alternating choirs continue with "secuntum
magnam misericordiam tuam" and sing Psalm 50 in its entirety as the
corpse is borne from the house to the church. Following the psalm, the
versicle "Requiem aeternam dona ei Domine" is said.
Since Santa Eulalia M. Md. 7 includes fabord6n settings of both
verses 3 and 6 of Psalm 50 (verses 1 and 5 in the Liber Usualis, with
different division of verses), an alternatim setting using polyphony and
plainsong may have been intended for the whole psalm (see remarks for
No. 34-1).
miserere mei Deus
Secuntum391 magnam misericortiam392 tuan393
390. deLe spirit santo, or de spiritu sancto
391. secundum 392. misericordiam 393. tuam

135
-H CO CM
OC-q CMj C* OC
-
0 -H CJ >2CM
0 ;-4
-
H CO
CM CO C a0 0 \1r-
O Cj C
-H -H >:
0Ma CM
Cd CM rl
ONJ
-
06 0 0 '0 00
H 0
-H -OH
H -H
-
O '- C 0 -H CONd
ON CM
-P4 CM O 0
*0 0 0
rd
C 0M \0 CM
COC 0
CO MO O'rd
-0
CO CM d
roC 0 CM H
IH
d Ha
-
0 -H
>0 SC
-CO
C- 04
N Lr O-
H N
-
-,C) -H N- 0
02-)
OCO C) 0
Nd NO -00
-
0-
rd pi P -C -i 0
0 -p NQ)
p 0C
02d >0CM- C -0
COO
-
l d d C-
-
\d-
0 00
-0
-~CHU -H 0 -O 8 -0
0- 0N o LCM
-0 -ON
-0 -C-C OH - N
0 Oo 4)o
-H OCO 3- 0 CM M C
C-' O 00 -04'
00o Co
CO ONH CO
C 0 O O H
SCO
00
0 Co C CO
'
Co
0
-4-
cd-C)
ON 0
0- >0 Cd 1.0
C0 4)
o>0 0 -H
0 N-
CO
-
-H \d
02 4' 0
CO C) PA
0 M 0 -H
H Is -H H 4' HCM C-
C- aO -H 0
Cd rz ri 0 0 >0 0 N0
0 -H 0 -H C) CO
N -SP 0 d 0
Cd 0 0 Cd 0 -H
r-A 01 1 0 CO o 4' 4 rd 40
0 0 0 d 0 H P, -H
-
HO 0 C- N 0 -H -H rd d
0 -H 43CO rd rd 0
CM C
O 0 0( rd m rd
E-4'
-H
4-'
C
-H
Q) Cd .0
CO
0
rd
-H
C- Cd
H H 0 N
C- NH
> H i d CM
r- H -HN 0 rd C), ulCd P-, CO rd0 M P1 P z
OO C 0 rri C)
Cd Cd
0 0 0
0 0
H
00
>04 4'
C
.4
4- rd0 C
N CO
0
0
.HCO CO CO 4-)
P-H
paC)
-r
C-CM
d 4' C) H H 0
-H
CO CO
rd
cd Cd CO
rd
C- -)
CM CO -H >0 0
0 0s boCdUM -H Cd
0 -H
0
N -H rd->0 -H H Cd OH
ry 4' CM
-
r. w0
-
0 CO C 0 C 0 -H C)& 0 -4-
N
-
,C
Cd ;>
0 0 -H NO CM
co
H O -H 0 0 N
CO 60 >0 H CO 4' 0 60 0 H
>0>0 0 N H -H -HN
CO H 0 0 -H CO O H 0 H -H C-O H
01 >0 10 Cil CO CM4' CM
0
O I I C- I - C- I
CO I C- I I CJ I CM M I
0 I C - N> - C C 0 1 I H I H H I
o I oJ CM -Z t- a) ON H I I I I I I I
>-
S
I
1 |>
I
>
I
>
I
-
I
|> >
I I I
>
~ 0
> I
1 H
C- I N
IH
I
CJ
>-N
M I
I
0N I H CJ CM if Lf\ C 0- ON H I H I HH
0CM
-H
H O j M LC\
0CM CA C C C C O-cC H
1
H
4
HH
I
CE - CM CM- \)) c-- ON H
II rd I I I I I
;H NNNN NNNNNO H H H JM CML\
-H H H CM MN LC\ L\ \Q C ON H H H H H H H H H
C- 0 r- I I CJ M M L\ I
I H CJM M- L\\D E--cCa ON r-i H I I H H H H H I
CM I C- C- - C--t t- - - - - C t- C- tC- C- C-- -- C- I
CM d CMj
0 -H 0 H M I CM CM I
cd
H Nq
H OJ cM LC\ \O t- cO O H H CM I H H H H I
-
136
m 0l 0
0 U) m
0
H rd H
C0 H 4)0 C
4) 0 0 4-)
-) 0
-
00 0 0 r 0 0 'H 4) 0
4)
H-
' 0 r. 4) 0H-
0
0l OH 0 0
0 00 OH
)
)
OH H
HH H COH
00 MO H C MO 0 C j
Cj 0 $: H 'H
Hq-
HO H HOC CO
-Q H O 'H H
0CH
0
0-
MOCM
H 0 aH --
0 -g ~0'H
)
CH I 01~-) 4-)
OH%
-
HO0 (\J4 'H
HH MO 0 MO -' rd4
0 - 0 0rd rd
0 -) 0 0- O
0 0 4) O
H
'
0 0CM
MO 4-) MO' "4) NONd P-4 4- CO0
O 0
30
-
4)
OH C) ''h
0 a 0C -I NOr -k)0C
H z r 0r NH 0)4 NH "0CM
40 CM U)0
-
H QOH'O -'Hr 00a Hd
rd'HONrd 0 -0 r
0-) C04
-0 -0-
rd rd
.-
-
H
tH
U
0 CM
rd 0
0 Cd CM 0
' H
0d
H 0
4) 'H 0 0-
CM
b0
to r H
cr -r- H) (1H 0 0)
0
Hu ' H H
CM
SO Cd Cd C-)
4-H 0) 0
'
SH
-- -d Cd
)
Cd
-
#0
H 0
'H 4--0
Ho Ha
0 M 4)
H
Ho
'
OH 00
H
OHP H 'H
H 4)0
-) r
4)
0
4) Cd H O OH)
C0
0
4-) 04)
0
4H) 4 4 4 4)0
00o CM 'H 0'
'
00o
4) H
0 M 'H 0
CM 0
00t IO I I H.
0I I
co 0
4)
'O 0
HHO d
;L4 H -H- - r--
CM
CM C - - C- - -- IC-
0)-0
0) '0 cO
0)j MO
00 Hl
0 'H Ho 0 H
4)H H
HCM
137
0M
(Y)
OCO C) C
0 H )-
\10O 1) 04) C C)
>0C0 CH 4
CM CM CM H
CMj Cjm CMj
CM
0 ~+)4-a)H C>
CM 0
C-) C-) -- H XC 0' H CC)
CMl CM CMj C C) CC -P
O 0 C-H 4- 0 P Oj 4-
ON 0 CC CC u0 CM 40-H 0, EN C)
00j 0 H C)
CM C-)
1- 1 4 -) CM
C\ ON C> 0 C)
0 C0 0 O C) P-,' C-
0
0 0
U) 0 0 -)CO (Y) CM
*CM CO C 0)' H H C) 0 4)
111 0 H
0 C)
CM 0) 0- C' -P
-0 Od
0(1> 001 0 OC)
*0
0 0 C) ~-0 OLIN
CC 4) CO
'0 C) 0 0
C) C> - CO
0 G -P ~4
)
C) 0
EOC H 0
0 00 CM'
H-) CM CM -CM rd0 C-H CA C) C)
4-) ;21- CO 00 4) -P
-0p S-PH m-H-H 0
-4C)CM 0 CO ON
-0 -0 0 z~ C)C'
UC 0
.H 0c -P '0 CM
CY) r CO CM EN>
0 C)0
C) 4) C))
4-) -H 0 C C'1 -P
CM NC C-N
0 +. ) CO'0 0 0CM
0 C)
pr0C)0CM H -P C-C-Co
'P CCC0-
0 C) 00
-4-
0 - H
-H H 0
-
4)' - C
0 C)A
-H 0 ) CHE
E C C) C) -HO E
CC C 0 '0 CCCC
O 0 -H ) C H 4- 0
H Cd -HC)
0 H
)
CC CC 4-P r0dC)O
01 H
<0 r-4,
-HM
C
)
0 0 CC
) Q) Cd 0C CC StoI C)
'
-H
CC-H Q)4- 0 .- P C Cd rd H0
0' Q) 'd Q)
C)rd C) 4-) r 0 0
O C) C C) Cd o -- C) C> C
-H 4) 0 H C d 0 Cd
0 M CC rd w)
CM
C
CM '0
CC 0CC H-H
S0 0C)
C)~-H-
CC-' d 0 4- d C
-H
C) C)0VC) C) C 4- P4-H C)
CMi C) '0 P Cd0i CCi O M0
C C C C -H -H to 0
4-
(
CCC) CC 4- C)-H C) 0 C -H C) 00
>C) C Cd CC O P-.,)0
H C>)OC
CHCM f) ppco0 CM
CC-H 00 H H
CM CM0
co \H _ I CC
C>> CI I C>
C>
C N C> C>C
C) \0 CC)GD ON 0 I H CM -C I LrN ICC)G
C\ CM CM I I CM CM CM
Z 4- H H H H H- CM
0 Co
-H
cCd
H 04 C- CM -4 c Lr-_GD0 Cm
H H
0 r4
C)C>CC>C > C~ 4 J ~jNC>
J C> C> NC> C>) C>C>)
C ON O 0 H CMC M CMd1---t C' GDcoN01\ON 0OH CM
. H C MC M CM CM CM CM CM CM CM Cm Cm C
CC
pq
bB I CM -4Y) D0C1GD \N 0 H I CM I CMY)
C)) M M MC M CM CM CM (CM') CM) CMYC
J-C t--
H I
H~ 0
SC)
C) I H 0 ~H ICN C CMj CM CM CM I I \C I ONJ
-
138
U) 4) aM 4
4) H H C C H H C)
cq 4z 4 a)Z C
00 ~4-) au
-~ PO 0 C) C a) 0 C O M M
0-"
C) C) C) C C) C C
OC z
C
. . . 4) .) .)
C-4HO.
4) 0 0 0 0 0 0 0
a)~0
a) OC) o o o
- v-, ,- a C)
d
a)~~~~~~ C)00C ) ) C a I1I
)0C CM~~~ 0
0 0 0 0 0 0 0 0
0-4;
O~~I E-C-i 4-) caaCC H N) a) N N N N N

4a-0-a- HC ') )4-) CC M r-x t
ata .- * -x C) cn C a)
aC a )a) Ct-
a- -- a- -)
a a- 0
-
O a ~ C) C CC
.
a) H
OH O4 ) a) a) 0 ' C)2-
)CC)N)) C)NO a)a) a) 0 )a) r ) PC) a)0

00
c,
a) a * C0
ya C CC CoMrw a C
CCCC COC 5z!)C
4224224PAC r C )CO C) Cd<
2 4
~aa) Ca C 2 4 4) CO 2
)
CM'M H N a-. a-)a)a-O 0 a- a- -)'-C 0

0 C$ d - -P
-
H
24 )I a)O H a r)C , . C) 4 )4-) ) a
HHa C) C-M CQ) a)
4-C0 r2'Z-' a)00

U)C)HCMdau) CM00 H H
H 0ta 0O C
a)
a) Ho 4 ) ) H
r
(
H c a)E Cu) r (
C) U)P -4 H H4--
H
# odd H PA j C . 0
()04) ) 4)
H C C)0 rd )rd
Y)
H 0
CO (4)0
H 4 )C c)mo
a)C) m))~
(y) 4C aCMC
04m
4) C)) Y ) H
.,.f0) 0 CM 0O C) H
-
) H
C) C) H C) CC)a) )a 4
II I Y -4-
H 2 H ICM CM
-
139
~J) D C CDC ulD U) (\j~ ON Y ) 4 -)

4-) 4-CD 4-CD 4-) 0 cc H4
0HCa- H H ) 0
4--) H . 4) H- 4) 4) ';4 O H C
N 0 C4 ) 0
U) N CDN
CD CD CD
4)P 4) -) 4-) 4-) 4) 4) z)H N

4- 4) 4-)
i Q4 r- 0 0 ON CD l
S: 5:1 z
O0 0 0 0 0 0 0 0 0 0 CI q C0
O 0 0 0 C0 C 0C C
0 C
0 0C C0 CC
O.H OCD rd ;--
0- 0NEH
CQ o o o o o o o (Y) cd -:5 o
\dlD p0r
I I I II II It o I I
4 4 4 4 4 4 .4 .4 .4 .4 ) N
CD CCQ
CD b.0. 0C
O-0 0 0 00-0 0 0 OO 'Q
0
C)
0l
0
0
C'. ~C c)C'- C.
cd C'.
0 C- C-9 C-.
9 ~CC'.
C)~) CC.r.C-Cd CM) 4-)
0
) 0C-d
4
dl d% lnno o e o t at o > u >
0 Z C4 H4)) 0 0 0 ';0!0t0 NO 0
) 1
C Nr ) C N )
C Ndr C C) (1) )ON
0 C
N -4) 4)0 *N -NO - C) -Nr
C) ) C ) )C) -PC)dC). C) C) ) )
)
C)H
rd rd- HOrHd 5H O)rdH 0P 04-) H
Hrd
d4) C0 rd C)) o C )0 r U)C) C)0 C4) d C)c0 C) C ) (QN )O
)
-4-
rd CO
0
0
0
CD -a
4)
-
Cl
-H 4) 0 .0
H
0 H
CD
CD r:4 -H
0 0 pq Co
-H
0
4) Cd
H 0
Cl CD
-H P-
Cd
0 0 rd
r::
0
-
H
0
4) 0
N 0Q
CD
D ::
H
0
Cd
V HJ I Cl L
1Y1 C') ().4

4-)H
OCl C
r 0)
0 PQ
4)y
HO o N H
Cl\
H0) 4
Q) Cl.4
o0) .qL
C
09,
rd CMj
CMj
r- Hy
.4) (Y)
4 Nd
'0)
4-)0
H H H
o 0 ) U)
H 4- -P
C) 4- ) 4-)
S C C C
S H 'J H L'\
o
C C0 0 C0
C)
0 0 0 0
CdC
0
4O
o Z Z Z
() w
U) U4JUU
P4 . Q >4 Q d
,
rd Cd 4-
) 'Prd '(Q
~U)Q)
Cd
4-)
o)
CU
0
H-)
o H
0 0
-P
H 0
H O
0 co
)
U) Y)
p 0
H C U)
$ 4
C
&
Chapter IV
EDITION OF SANTA EULALIA M. MD. 7
Editorial Procedures
The four voice parts in the pieces have been designated as
soprano, alto, tenor and bass in order to make use of the abbreviations
S, A, T and B in the critical notes and concordance table. The highest
voice is actually labeled tiple in the manuscript, but an abbreviation
of this would result in confusion with the tenor. The spellings of part
designations vary in the manuscript:
Soprano: tiple, tible

Alto: altus, alto
Tenor: tenor, denor
Bass: cvasus, baxo, vaxo, vasc
The missing material in pieces that are lacking a portion or
all of a voice part has been replaced. In only one piece, No. 31-1,
has this procedure been excepted; here the soprano and tenor parts
evidently contained some duetting section with additional text.
Accidentals have not been added to the voice parts except in
some obvious cases where they were needed to correct an octave. These
have been cited in the critical notes.
The congruence signs and ffrom the manuscript are shown as
in this edition and fulfill one of the following purposes according
to the context of their use:

142
1) to show congruence among voice parts (Figures 3, 5, 6).
2) to show congruence between the music and text when the

sign appears in both (Figure 13).
when used
3) to show congruence between the music and text
in conjunction with the signs i , , or..in the text
(Figure 2).
such are
4) to mark a dal segno repeat when directions for
in com-
given following a copla (Figures 5, 6), usually
bination with number one.
5) to signify a sectional repeat (Figure 10).
6) to mark the beginning of a new stanza.
The signs U and : in the text can also show congruence between the
(Figure
text and music when either is combined with a rest in the music
no rest or sign in
3). Occasionally, a * in the text corresponds with
12). If
the music, but simply divides one word from another (Figure
either of the signs U or I/ is used alone in the text with no corres-
is intended.
ponding mark in the music, only a text repeat
tenor
G clefs have been substituted for the C clefs in the alto,
In No. 1, a
and soprano parts except where they were already present.
bass part. In
G clef was substituted for the original alto clef in the
of
most cases there has been no change of pitch with the substitution
clefs. Exceptions are recorded in the critical notes.

of the
Rests have been added to the alto, tenor and bass parts
by a soprano soloist. Ex-

coplas in villancicos whose coplas are sung
ceptions to this procedure are as follows:

and bass
1) the coplas of Nos. 12 and 13 are sung by tenor
soloists; rests for the soprano and alto parts were pre-
and partially present
sent for those measures in No. 13,
in No. 12.
143
2) the copla of No. 16-1 is sung by a tenor soloist; rests

have been added in the soprano, alto and bass parts for
those measures
.
3) the copla of No. 25 is sung by alto and bass soloists;
rests have been added in the soprano and tenor parts
for those measures.
Rests have also been added to the first three measures of the bass
voice
parts in Nos. 6, 19 and 20, and to measures 46-73 of the same
in No. 29.
144
SANTA EULALIA M, MD, 7

145
I
- o- r a ic- o iw aen a ven-cz- d el gran 7nt-gu
V)ic-to - ria vic-i - im quien a ven-g91- do el gma mi-
V ic- to - ria vic-o- rtaquien a ven-p - doe gra ,m--gvez
V-o- rnivt -o-ra uma e-fe e - -CIO - -eloY ramig
J
u-beA
1e4i
o e W- , I
4
-quo venm-9to ot hi-bel el a -- re- v - do Ve-
ei I j Ipi
9 endo d trin-14
qw
I
8
wn - do del ttun~-Po
146
I I N L
lo clan a mi-gueLorlaCvie- o-ria . CO7- iuc- fa, ce
'I
1,0
9
I . eoo*"t*l-N
v Ir I V r -7-
I '1e-m-er'-naAc. 510-- ' w ues fuefan ev-
IE~ZQL
CL
13
FD.C. al Fim
'I r F I I I I I
cia - re- f i do 47e zdprofun -do des- U- bo

-
16
Iw
r8
A
147
2
- --- --- - I-1IIl li 1 1 1 . .
MP
4
iS7 - w Uis- Iro cl- 05s por nos
e- s-
1 e - s- wis - o nues - fra ciz- os por -nos

A II* I
6jrj
F f m I IOp' I
su- s- chris - -1o Taws - tro cli - 05 yor ws
e- sw- Arts - Io nues- -fro 052 en p l-s
J 111 1P - E Finel
SWrco-n ciwz- i c ise-- tos dz- 05 co 0 tn - 0

far con-n-?oy i- -ca, se--nos oy en co - ins- k
IA
6
xz con-*n-oa u . - a ela-Se--nos o en co - tin - a
el es pan se - -pw- nas i- -i - noqf an- q
1i .m --- -- - I
Ii
F II
148
A
z- C" ase ay or-re mr-.
19
A"
c g0 ca,- --- (Anu ca - - tat
24
ax tihdno sangranento
[yJ omla- suipr[]nate
ysento onrre m(]pvata
con-azo ser ota [ ] ida- EAC, a Fine
149
3
I EAes IA deIr&I I e- es e- 7
s-t es a'4.d. - einor ie - na- eas-T-e -? --
For a. E-itd
as - +x e It
cemov - e05- iaw es 9e- a-
fa-e - de .,_ mor1 .& iui , e.s - Ia.... es. .ca . -I ?L.a.-
-
3 -norE es9e e a -e
digsII ed M--mW
+
____ rs-, e& e -tO & __ a- 77Wr
ci/ i 05-a--Sc'e--- C.e ___a-macn
j 0 -tzple-copla., I I I
[:R S alI F'nejo
2 Ip
S- aen es- Ia qe-- lNa

05 a- - c se or- de- na-
S
150
cna de aj3mor duiaLsto

co n el amate amato
le7 Vanr con amor qu2s akw'
de amor a sW a saor
quo na# io za na- diene

aunque a. iota las manuee
esia&sola,nos conwiene
[&] porque oncluye a-s sakor
4-1 '5'
Ie- g -O1 al C1---Vi- do - a- sa,- a cena
~F- gL-O$ a con-z4- do de34a sazc-a ce-
,
I
Id AM I _ _ _ _ _ _ _
S -- -O$ al con -vi- do des-asanc-+a, c e-- ,na
- -os al- cn -t4L 5 L oa-+& C4, - 7UL-

Ile, - g't, - O OzCox- -0 1 ds-a, sa-& e,- 7w,
A-W*t I
e -nis--t--rios le - d i s- -io- Ce
- - de- m--io-lip-,r- d &- -iCioS Ue,

-
de r mis- - io l ed - 1e, de inis--ie - rios 7U2,
Cie- 5 i i-o - aQ co- Iner ue sqdaos og ina-
'10
::
-mill"- _ _ _ _ _ _ _
152
A I I
-,w a. de- j - 7we4, en di -vita Ce- na-
14
041
Ue -gaos al con zd - e dZs- a, [sanjca ce - 7a-
I4% IIII
no tenjays lecelo
vend reccadoves
gu$ka, esios savores
venidos de Cibilo
fues auaen- e[l] cello
esla. gracua, % 14no,
[S1dI & nsieriosUena.,
[de miserios Ueiia]
153
-5
VziMen na- Arel dio, 'ir-gense-no - 1vos 'Vir-ese-no -m vas

?irjtina-dre k- ci s] Cao-scL so-ke-ra.- n.Co-sa.so-Ze - -a
SVnIrqenSe-fno -ra vos 1Vir-gen se-n - -.vos

LVi-j en- ma-cdle, colis -aso-So - a- - (na.CO so-be -rCt
-
I r%_f
SI-rl-gen vna o-eaC so-bew- ra -- na.oo Tro aso-be-ra..- ina
LVS madre 1 ir se-n -t Yo. Yo 45ens ra*4VOS
r- n- jo e a,s-be e- ~ a- VO 0- S 50$e.- -,r Vona

6
YDe s$a- - dra- ina-r -a, e ot wa, - ao i

de l-ue ga. -7 7 Co -l con-n, qe c; na-
Pa 0, a - ra- - d& ma,- r z-- 4. Ove, OX M- gio

A de Cea- 'a.c ceno o I yna- io
I v tZo--O el sol
UfineJ
,a-ao el so- cio 4 s ue dos____em- o

_____ _ _ /000L-
_ _ _
iza -e ci sol -a - e2- sol 4qU0 dios ent- hio
k 1
8 114-co el soZ f alo-o ei sot ps dios.. ei- Id"
f1ls-czo e sol n-- clo e sol ase cli ios em - Io
Co [ .Ca
s oi en9 sw 1aS-co-mie2o jj iao-n ia, - cla- e-pe- Lo

_ ACI-__l- 0__ lopa, -- io Sol CO-Om-pZ-nienb-1O
8
o
g|||g|gg|||g
||||Ig|
|Ig|
ikI|Im
||
-
7 155
-ol iut-cl 1u-a s4 e 1o lWn-bZe *le - n A.-

e-fu--jen-k yw -rao b -11- (--xeLsanc-+a.... ne s e
A -ce la] ) ue--xes-ie-1or la-bre-.Aie -nea. di- s

re--fu-jen-u- be-r-ensac4-..s1
n8 ni,,te -bsaer Ue pOV lwn-bve....1e -ne ap di-03

fW-enk y--ra y 1'e-lca i-xsa-a,...ue sois;
Slu-- ce-U[ ?a] nue--aes -ie--la que or l w-1-e.Ae - A. di-

-fu;n-e p-(raaj be] -ha- ___n A.....ge sois bos
dios es ei soi ?,erd3 22Z'ojj

Pla euet4*lW que iws chca,
esddna-n owwtey Iuzevoii
qgue sw Zwz -toina. de- alla-
,nazia~ tadre y dcrncello-l

y (u es Lijo
OZRUa, ;aeie a
sl -iene Was
izasi y si0nnjo] dozncellaij
.uezida- eseosa de Waos
Co ha- rena- e$-la-&0aiI
emedio de- aue sa- ida

es l unosc& del ore nte
156
8
A I asesi- 1 dae-- s Ko*os -- -cil-1
Ii-i,Ilmd0
11-I-_sd11-a% I I
g ILd
u zo es a-.& na- es jL r, os o-a.s;cLcc
1u
t- f I CM
'
A-
es iw- ct, do -es iwz- 9 C-do Ifa-

-
.eja. -mans a bra oss i

-
S
'03n
157
mas undo estreas..

AnaiLdo el
)e virgen doncef- [P pC. al Fne]
,naws lindo estralas

Fs na5 ido ei]
Es inas iinc* y beulct E p. C. al Fine]
158
9
1 1 I I I I I I i
,
- e - pa sacra- -nwn--& dios on - cr-
bjtecka - iie- pa sacra- mnen-io di 0s on- -&
c- iie- pa~ sacra- men-io dis on-c
tecA- ne- na zao- cra-Inn- o dias on- c-

rft
rmvAr
Ar v
teae- -m ci-- rro-umeit-io dio- on- cl-
va- l +ic 'fa. la~u i- c
8 ntla- faul HS- 61
co- na vel ti [flaJ- -daual li-
teco, y tevel y -te gal chicawo u[v al -tic Ilaul -1Ica]
1 naca. yo quic3Qpa-va [ 'val i ilalaul -i02

?to CA v iwnlizizia-vac it [vat fiijc -1ahuA't &]
y las cai neyiaca d [va -ic +laau ica j

yw~i~ ni Uckxan n q ui (va al li+ laul 1&5]
10 '59
Oy es d de pal-cer
Co- inen-c - mos con ma-Zo -d ic
0 es ct- e, y7a- er.

I. wwxne-ce - inms Can vm,-o-cic a
A
Ak -e--U=
a, o-dos
1--a. -to-doe
v I-a, co cl
A- CIO- ei - l or e U-
J.1 do
llilI-
M
-
- -
8r
8
16o
11
(4- dos- Ft 1'av-io se~ ,n a~~

1.
~~ si azt-Z$n do: Zt--do sngin-a--
A an-dan -do: EZ__r-o se Ine, voa a-
sezt-cai-do at-dZ- do cr - si suie-daa-d Vt- 5 enz ea -ri - o
1t Sex-caL-do att-dan-vdo mze-darn-do vi'- Jenta~ - vi-
_ _ _ _ _I
8xB ~ i - FJ asL- da do: F
I-ri co, L-c u
14
161
P- [)a, 9 a4 d Sernorjute.dels - os Ve- n a-
2c
_4 e -le~ ow--- ~ o est

I -m- mw-A v
At m _i
f r e, ie -con-cce4 -CI i dCL
26 35
inII d- --- -
-
32
k8
-WAWAIII
162
12
F2Z feL pe-o me- di- da- queeneZ uivir
fpe-o n--d- ; qe en e ui-vk
S e-di- da queene Ut-vir
L fe &]p
pes me-di- da queen eui-vir
o s0En nos a qu n peeel UZIe o t e

k% It'd iI
rr
s o 1 o)0n5o ml- qud en Vo$ m-9ue 1 to de-
4-
snos d oEn~ mi-gueL 3t

eni smiyeI lo
05 1)0 de'-
Cios nos dio[Yn VOS mi- 9 uel en vos mi-guel lo de-
da Aueis-l
NW mdo-ir
S - e-dr .ue-- -o
*0 -end - U - - E re-so que o- oea
luty a w -dir nues-ta vt - d~a] ~s -s que so- Zo a.

163
w I
l-a6
cx- 0 ~An-0 m
17
&W fe ..$ nw,- d das U4- v-4y m7uer- tC CatL- so

-
-
13 164
SeaSec-t 7 tu
Aed ii - ge - gUC V - -'0"yyee- Cu- A
-z '"- 1
C8e -t 9 qu el - r - qky e - cu e- c.-10
- ces-
uer- -s
-
- M- .m-
fuer - es-- cwe*
- d e S muffe-ca, e c--- t e p
my e - e - cazr- q es -e cuu - +0
deipe- ca -ddor en -mzxr - 4e

165
-L I I r
-
que quman-ay que se-n- aa, fuer - an-*
10 A enay que se a fucr-& quce, sea +an fuer-& e an
-
u umquen ay cle se-o, -tan f er - fe ue
A rI-
neqi y que se - a Ufuer-lz e se - a ta "-zte
8 iOS s s- gu -ro
13 7n--_T - I e- k-
li 'e's -'SrrTO
8 Sans l e los es -l eSe,--i oo
am - l-e 4e cu- - sry e aoa1 t v
16
,5o is w ,n- u yde tan al- to va-

166
8Tor: 1elde-ino47 2 io Cen- do r szue-oinsm

4- -0d- e t_ _ _
C-- vem Wp,- s d qrd-nso b e
29
caW
- Co - ua s-ola ifuere
inu mu-- ~se-yw,- ra. t-t4 22 fuer

la u
-
14 167
1 prin- c- a- u
- -p-- fus
2 - ~ P us
rpm w IIll I l' | .. R
W1 i1 1 Lli
S
15 168
o- mj - tie a -- j-va-h- do ns-
~ )- mi tad a.- jw-van- Ao- mne e
;v" rr
8 o- mi -nm ad a.- iu--van- do me ez-
TL
2)0- mi- ne a a-- ju-van- do me f ez-
I I f z
-no- g - ri- ap-- fri
-na: g2o- Hi- a.p - fi

0 1 A"%
Sna- glo- ci- a. par- ~ ri
S s0iri-a. sanc
4 - na: dglo- ri- a d a- h ei
060 - lu - n :a E
-a,-- s ancCI sac-
ef - -:0
ei fi- i- 0
169
spi v-+u- i sa iw-
8 ri'- i ~sanc- ira: e~ ~sg- v- i saznc-
F ~syp-ri- t'ui sanc- toesii +wi sanc-

Am 11
$i- e- 5ut ati i Ia-
0 tuc eisex-petu
_____ iu-uzce cai $er- per:st
8-j 0 et nunc et se ~ - er:
r -1
Ti-
0 nunc Fer:
170
A- 5 I
I
An La- u as - 2
e- cSa- &- so-S-- c
-
8 hi;-i-a cu- to0-
in. se - ew&- lse- Cu-
-
zt n se - cu- a
qJ A6
10 Z- rum L men
.A LL0w- -
aP
LA Am 10- -- um
lu- I5a
16-7
ij : ill ir is JaI
do I I do
imi e ezl~errLal4e -ri-a a
IL W I
6 I F nI r-I II L
S] de g j ra 9eo-u-e lo esua--c10 eod 9c

-
J. I I
t U
rcot, Udelo-re l s-eo-loy '49y- ov-qsel ca,- l
cor-+x dlce- lo Oy iluel a - co r-* del cle- -10

172
cov-de- del cie - lo c brasue no d
Cor-b e a cl, - 10 -Cu a -iz-o
SoycgS a-vcor-sa eier- no d

-JWIA
0 o ce - 7e-bra_ swj -ter-no

FIF 1I1 di - a
23
ad__-_ c-llmun -e- I"--ia ser

ysa- a el Csie-- lo sen - cLe - ra- .1-'Ee-
(t
Idr
28 ANYer.eaz u 4 a
zen-ca de-sw 510- 2r4 is i.-puescp-1U

-
I Jim
173
- W
- -r
In
17
;D x Po -- mlm- nus
18
nuestro dios
.A eswerisiv
jiiw 11 I I'l I IM IIIl
I r T F w
1714
19
I'& 410%
Da hor - ,nP - sa -- ca- ha e-co-g do

- e - saltskn - do wue-fes
DOa.,A- nw- Te-he-ca

e - saw sWn - do -fts s--o - do
7tues-ro za col
nues-fro za - co 7 iues-ro za-- co el si ves --1i - do
87LU5-ito z4a-Co4- ro ZaC - co el Su Ve.....

-
1
nUe0 -Evo z-CO Inuss -ro vv--co ed zi ye- -
-
a 40pie~~1e ecA-lr l u~(e

Izl
-zo t uC-I-e
8 W -EO Z O ts-ro z,-cb o u vsd

17-5
20
for - a -do den -nor dej-mo-re cios emn- a

es-dios y nues-4iqer-ma-no el gutemdi- a
I
de a - wr ,no res dios em1i
3A es-A' s ues-iro mwno el 1 ue mz
-
I w
fle&-,ut de 5ra-cc3
-Ak e- -a
&I4--ade-g-a- g-
L L
EPM
r -u ea-cua 11 l-to & ra- a ma- r-
8 lr, -iuin de gr-ca Z 1, -n de ra - cia - a ,na.- - a
OgPILI
8rC.7a-
co la
raC, calF ne 3
as li- id nue~ Ro - 3' en e -Na se htI-ZOW,-lfl-n&
S
k-
0 III
21
I a a
I I m
a. VC aicn-na.-ze a-c
-
II II l_
-
aw II II r IlI
A- ca.-n n-Z
grz - , -resyws Efin;J
~~ vi a-0 d- op ein zes___ -s- ca v
Je- wzer~ za-ze
VAM r r
IIL I
~e~ ejunI- ze ke ,? -v a-ze nU4O4- rnt

;p
Coy7a- [5C. ine 3

)--tL k i I i I I - L-
,
cze CD alOF & -- do-F

a a- - zo - - da, nue dvau-er - -d-
w- -e 0 qzw - 7 ws 1 , Rem1 lII llg II I I

8
8
'77
22
1es-cka 90i- io h-- Jo dL s m-

ena ma -n- a~ znr - 9 enpu--z'
-
su~ ve-nm-da,
Des-de g- lo 6- zoios ILI s uv - i-- da

~1 enL IU-tz- a vW-geln pu-Za su v>e- - nt - dc
g, futo c 2 4X-tW5it, J
0$r
-
9 ~fue2 pOr da-lws
Cfine]
fi o -iu's f-ue pov -n5 sk-re vi -
.5 -- cd pak-o--eu parn-no'swpre
f ne por c a-7wos fu or da- -nos sigm-re
j
coFya i ED C. al Fine4
- I | k| h|I I I. I II .t I
"F
"Me um-do - - - -11 -us

8
23-1 178
I- I i I I IL
;- ayes- ian-- Udo] -in - cte- vi - a- mna-- ie s5eI-- io

qwus - tan- (do] ion - cz - v! -a, ia- sk
8 j- Ze- ZLa- djO] io- Ce-- Vt- a na-- ien--- i-

wes - iazL,- d]on - ct-- vi - a ia-1 in--t
L*I
LCnu- ra- e^- 0
vz- geni pa.- ri-a inas que~ a. - v e o
,JL I
8 Vie- -vo-n pa~-

5fan- ri- o
-a I ma"jue-
as tue a, ?md-
n- ra- que 0-
0-
-
vc- gen pa. o na que- a. ni- ca Vue o-

F o p-c-a masque, a. y-ra, iu a u,
II
vtr psen-rI- ma 0 Ia- glm-va -i -a qoo
y~o Fa- ri- aom7n"'jue a, ml- va. qju a- y

9
0-'* LA
yo p. i 7n2 r~. 2
a. Ifi- ra gl1 ue 0- yo
179
24
P
fj 0 # M -d
W I . doom=" -,Rol
An Sews )l
I I
AM K 3w - A
lk
%PO'
-
17
1) taAuana
W , . __ Ilk- L 6.-1
pq:::::::::In v
rl Aq 10---s
%LIZ
Sfavana,
FM
I W
8f avana
Sir-
V
favana-
J A
Wt
14 -- k i
limit
zi m Is-ph.
10
wag
966 A X1
rwol rN L
m r% t 000
#
L I
do
10
71
w I m I
Ana
El FK
-a--
6ft.J I
180
25
I I
f=- +gx- glo-ria se d:Alos cuer - pos
e9 1 it - I"-gl -ri s lota r
,S an - la.ggl -r-a se &s- 19s- uzr - To
en es u I Le x glL-
-
fan n- a.90-r4se aos-cmas -en s
4 at Ina5_. en el ci - lo
-
181
coplas
-
I
F
-
v ."k-
Ap
A- A as o f a - C m - a o
i $0-bres Ca-st,- Has DOA-dw O S 5an-los 1vw- a_ ron:
osra-g7 aso- sst-b a- o o .e los sa c- Iosv-ns s- rons:

3
ase-d i - Zar-01- s Cum gas o - bea e mno - ueLs
ON
'Hi-sien-do mL -a-vi- las: aom-nano bu0-lo

Cum glo- rkl d
182
26
J- j__I /T*411-t z a
tXnc pa-nam n- 1-- cos u-s Sa-- m
-n pa-nam in~- i- m- co iu- os: ze um

v3
An Irv ___________ Op
8 Xo -nec pa - n. in~- i- mi - cos -hi- as S-- - rum
bo -nec po -nan in - i - mi -cos *u-- os: 1 Sca-be - rum
net Ws - -u- 5: ca- e- ri

pe-dcPommi- o- rum-
dw- in- - a- cwn
I 6 - 3 l - - - - I n
I j,
cunrprin-i- pL- urm in di- C vr- u- is r-m
;uO Fri-c - i- Mn in ci- e vicC - Su- cs tu-be
8 cuinprkn-i -ypi- urn in dt.- e vir - *u'- igi iu-_
cumFrin-ci- pi- um Ln di - e vu'- fu- -H3 iu-

183
i I I I I
sp1 5#4 - Ci- hus 5~O~7- iO- rum: Ex u- *e- o an-
spen-Soto - ri vi-
y Spkxe- bus sanc,-
- lus SaGc- o-to- r rum
wn E
Ex u-4r
U- - -Voro an
a- 6
-
- yspln-bo- vi- bus sanc-to- r -- xx - - ro an-
R ci e-rum 9
e- nU4- ____
8 lw- g- fr - vune- n
6 Lw - ,n- fvs- eu - s us- jsuon 7

-
1n - is- nus a- ded- rs *u-. is: Con-fre--i in
,OIL
8v i)om
l Zo -- mi -mss
-rnus a,
a dev
dex--'1rvis 7isw- w- is: Con-fre-xifin
Confe-xs in
WI__ _ _ _
I
I Ii i CIn
8 o w ms a "-rsf .- i:CI-r x* I
a.dex -irisfu- is; Con-fre- x I* inL

184
A
I ,-t I r
,
cu -- a,y
1 1 1
d- &g S- [oSW- a e gC
8 (i- eC &- re s - vr- ges
d-- [e] e- Te Z 1- a-e- ges-
/'~ , i I
I II LA IW
Pe to- ren- in ui- a. bP- b rorP--* e-
wnw aur-mairbi-adtM 'W'
De -to- ren-iten r - a -rop-re- re-

A
8 1 o- ren-e' mntv- a- i- b PrTop-fe- re-
2e to - ren-- in. zd.- a, itt- bit: Thp-fe- ye-
a- ex- at- da- it ca-- put
o ex- al- da- uli ca-
a- ex- a -- a -il ca p
aex - al- da.- 1 nt

27-1 185
t-)
I J.I
I I t IM
I 8 Sg-rex- CIO - m"U rnSu p at le l Doy
doI- i----1 d- -- l W- _
5urre-li d - w u a -ZeI 4,-Ia
FLLJL
FS
[IOl- -- lb-lu
_k k
An _ _ _ _ _ _I N
8
186
a l
o ylalu ysi[mond
a ~a/ ar elu a, (allduvalj
$At-rrexi*' dominus cu s lehlo

allure a u aielya. F' c . lF.,.]
28
-A- I I I L
mi gn a--- ti - a- qjue pa. -- jis -few

e cr z, 1n21 - so ue~ es hi-1
OVIm- en a- queo a--is - ies a-

1 [4 cor- *- - .lnaiv-
-ri -
SO que es' - j
le -e-to e carQ-
cor - k..-- -- so
so .
e- es -GAO
(e ci
cyr Uo&
F- -ina a --- so
wian so n- ee's , -jo
- Io
r - eri y a.,-e- - c m -c$ 'ateea..
s no ael 7nu - a- do 0o
os Fr - a -n -[a2l it, a r
-
es t ve-se crta - *I - S a 3 er:i tj l el, InlU -0 dta- co-mo vos

os: car - b. demi -& U-e-co -- ta--qon
os: elm el mun -e--C 0-1"noV 05

5 os uml v I-d i-ce.. co - r - co-&
zos J ci- es m vL- sI--a- con rnu-cha ra.- rn

I os no t:Fn
r-r
GOC& WZF 0
440S bes nii -edst-c a-onia z vo

alos*t-,
*,j iT CS mi Ve- - con7 mn-c L - con
-
187
29
. IA
46 B na-se- ri- cor-M- a. e- us L y. o n-
I-afgef ev msericwrdia
I Lf
I ' if
4 =r==r=r HF
c6 coLa- v-ro-,qe-I me t7 a 'Teo - e---es a-
1 , 4 9
I
188
AV
99 LI I
- 0 g-*72 e in vro-ge- its] it-me4-dz &aZ's e-
I I%
66 I I qI v I
IA L
71 8 Um+I, ma bs e- Uj w
of&-
189
A Im
76 8 & 1 o- den- 1
des de ze- de ~ 11 et ex- aL-
&enz- des e-e- del
I lI
I r
8 da - ui et ex-it da- Il
81
ex-at1- do, - U et al 4- a.- uU u- n-
86 8 nz- tZes [et e- al- ta-vit 7m- mi- es]
t 21 A*T . -I
ties Sei ex-al- a- vi 'lu- mn- eJs

190
II A PF4P
A-a jF
-
5w ce-'UI- 'M-iUs
e
1s-a
Ase-
9%t 5 Fsw-5ce-pU l1s-ra,- elletL-
J A
'A LA6
8 5 pu-- sitAir
e-
ra-el] e pw- e - rum - Sur- um
uru sc - is- r- -e- 'urn - wunt
1A1 Co - Asre - cor-
el smu--of e-v 1S- 0 I_-
101
5- cor-d - U Eve
-
191
*us se- rri- cor- di- e 5w-
106 8 _n_ e- - ci- or-i- e SW- [Sw-
8 cor-da~- *us -mi-se-rdi- car i e~ su'
A
car-da- f'usj md-se- ri-car- d1t i-
corn - se- fi- cva -Se - -c - tu e,-
8 e W- 'm -s-mc U- r
r-s-r - cUr - - o-- - e-w- s
i-Se-- ed-
ci-ocop
-
se- n- - - ore- d- S- e- e
ae a!-oe- mdor--li- esu W- el
1AZ S -r -cor cu- e iri-_ e

-
192
go- ri- a, yaw- r et fi-
121
I- -
-
126
t f- U- a e fi--3
910-
eF. i- tw--1
j -Ad-Io e ErI
oS -- -cd o
131 8 et-a 4 . w -Y&
I -I
$E-Ci- u- sanc tt IfE

-
193
-5p
- --
-3
ril toa-3-sa
sI J
l'i- u- Sa C- z
194
30
J a
Ne _ _ e - cor- - ris
"#I- w -o0w-I t
-cor-
S pec - cvi- nmt a- $o- mi- ne,
______- t)1eJ ri bu~znve- 7te rs
SO y - dne- ris Zrum v- nt- 4s
Vze- de- i- ~b-m

-
-
-- md-
8
S cu- turn per p s. nm
195
J 6jJI ~..
-ri- ye - vi- ye vi i- g
® - - e- e
-ri- ge i- L- 5e bi- vi- ye
Ky r-e i- yeso 2i- vi ee- sone vy- sge
)(y - vi- e c lzj son Xy- v- Zj- son ce -1y o
e )(y - vi- e e- ly-son 2(y-vi-e e- Zeij-son fer- ?ey- sonj
vg i- e Eej- leig- son 2(y- z'ie leyson e- k
1m6 4p L'
LC A, -te it- i- sox.. J

-
196
31
A I a 2 1
%, r- 7?14a- le- i--n: qua. b2i el-ya
1 %a,- r__- a_ mag- da- t-na quen bi eZ- a
v rt--
iua,- a mag - 3.-
mag- da- I- na quen b' el- ya
I nL
5- cruz
cuz
a.-
- zel
ze2i1e)-
16Z -y
L.a
ca-
ca-- mna
,na uini- YOJ-
z Ia.- I n o
1
u
C-aca-in ui nL-l-ogI5u5 1
Crz*can- ia. ya ca-tael ca- ioas-c a-- nae

-
9
197
ce: ao i o-W-ce, * n re
13
efaramama
ibaf i lucolo
i 7nonumenfo
Is quk-r *i [)C al Pint
32-1
mam
'bay ma- gal-
bjma- gal-
wI
4v
-zef 2 T!e- 4L21 7flU-
In . F4 IhILZNj-4
7 gal-ki-A naxyuuk ma- gal- hidy-Zban y-pal
8P
1 %Ak 10
gal- I .ent ma x'u) in4- gal- hi y- ban

-
199
I t
10
LwJr rw
33 1
a-a- lsm ha, - a7a a-At &h is & V
dMk
Arl
POP, pm,
-1 t I ' r I I
200
34-I
I I I I I z I
I
- tiI so-
b s - ii pe - - vz-i ca - ti-i 1ii so-
So-
ai' A I id 3 I
ii- i so- Ii pe- ca- ws- i so-

A
U -pe - ca-1 i -SO-
-e- aS- t co--

s- iU-cba So- U
I- - ca- - bi so ii - c a-
8 - ca md u- 14 so-pa-c, -
-
ca-.um- -t- am iS-11 p, -- a,
U Ta-- Ca, - id- 14SO- U 'P- 0,--
It" &--1M C- ramie f e,-
et vuz, - lum co ra4?Li-& fa CH

-
-
201
5 I a
J
I I I I-
-__
-
I
rs jn~ sec - mO- - bzAs
11
-ofi JSi
1jus- - - is jn Ser- ma-- -- bus

-gift-t- c - jW-- c --
8 2- i- et zd-a -s Cc?) 3W-j iir - CO --
-
Ls et ui- - c1Wi us
ef taln - cas c.uz =j 14-,CCL - s*N_
Ls e f uix-- cas cum j a- - ca--,
is et i4L- - CA ia- to CQ~ ris

202
35
L
A- Iva- sv.1 r -no dl io 9 ~,clla l -ra
-t I I7
I- - I
& -s et -nodelt - - ri InI :..-.
-l re n-o , la,- o- r
ue - oa c~n ss Zo a - L tx-1
AklF
%Zia log I I
1 navioko-r degalma s 'k---o lapresen
ad-lra
203
36
&0-v k 1, 1 ---
F-
A --
- If t
JAI,
rlrEij
lk dw
-
MET
[Q
.wmrqal-ki sul4s a-coz co-le oc-y -d

IL
I f
I a. be - &-n
II A ----Mwommwmwmwow
Ft VQX
v
d
-"NOUN"=
AM
NNW
ox- za P via- M-s - Im- val-luil- 7na val-m-

IA
LF
nt-* Tn& vti-m a-i
Tiny - Ole 1
7 7 ID - 7e
[ RneP
x gico am 41 7ax a iv7ac le ci c
8
2o4
I i I
I
I
T--a s 2 -n- 7-lo ca.7a-

7u va w7m
IlL
IlJ~lI
J . 11 L k-
I FN
ka~ 7t- 77-11m4R U$ co4ac Czi mtctzAiu7
IA7
8
205
37
-flu- Se-re- re me-- zTe- cun -ium-
-rnL - - o5
mi se-ce - "e-
m x c ea a, e-cn
-
- W O 3.;.limp,
v - cat f- ant iw- an

1fg2- nam~ mi -SC-
mr --se-- Vi- car - i- an tw-

g-na-r
206
CRITICAL NOTES
passages which
The notes below show the manuscript readings for
have been altered in the transcriptions. The abbreviated form employed
(S A T B), the note or portion of the

gives the measure number, the voice
measure or section, and the original version. For example, 4 S 5:
of the manuscript the

indicates that in the fourth measure or section
note.
fifth note of the soprano line was a quarter
1. 8 SATB:
B 2: B / 10 B 2: c / 11 S 2: f' / 11 B 2: G / 12 S 1: e'
/
2. S: /4
13 S: / 28 S:
3. 1-6S: / 6 S 3: 0 /6TB 4:.o
4-1. 4 T 1: c'/21 S 2: 0
4-2. 9S: extra 01g' / 12 S 4: / 16 S 1: a' / 16 S 2-4:
omitted/ 2 AB: / 4 AB: / 6 AB:

5. A: 0
6. 5 B 3: f / 8 s 4:
1 B 4-2 B 1: 01/ 2 A 1-2: / 2 T: extra C' / 4 S 5: 0

/
7.
4 T 4: g / 1 A 2-3: f' tf
8. 3S 4: d' omitted/ 10 S: / SATB: key signature omitted
S 1: g'
SATB: C omitted / B: key signature omitted / 1
/
9.
1S 2-7,9: all b' /l1S10:a' / 1 A 9-10: J / 1 A 12: b-flat!
1 A 13-14: / 1 A 14:/'N omitted / 1 B 1-7: all g / 1 B 8: e

/
2 S 6: N omitted / 2 A 1: c' / 2 A 2: d' / 2 A 4: e' / 2 A 5: d'

207
10. 7 S 4: omitted / 10 S 1st beat:
11. 1 ST: / 16, 22, 28, 34 s:
12. 14S 3: /5 T 3: 7S:>

/7 ++*+
/
7 A: ; / 7 TB: ow * + /1 8 B: /Tomitted/
/ 1 A: -~ /1 T 3: /1 B:-- /2 A1: / 2 B 3:
13. 1-3S:
3 T 5: /14 SA1: /14 A 2: /14 B 5: /7-8 SAT:
j 1 /9 A: "-
-xI I1 0/ 7-8 B: a.:!
II= / 10 T: / 10 B: rests
9 TB: rests omitted / 9-10 5:
omitted / lIS 4: / 11 A 4-8: / 12-14 S:
# 1.1 /p12-14 A: o##+o * # 1 . win

/
12 T 5, 13-14 T: # * + . / 13 T 3: a / 13 B 2: c
/
# /14 B 1: d_/ 15-31 S: 14 B: *
/ 15T: 15B: /B. ,rests

15-31A:
omitted /16 TB: 3/17 TB 4: /22 B 2-23 B: . / 25 B 3:
26 B 1: /27 T 1: / 27 B 1: / 29 T 1: / 30-31 T:
. ;.##KI <-o / 30-31 B: <!> -K> 4/ 31 T: ^#omitted

omitted
14. 2 T 4: b-flat / 4 A 1: e' / 8 T 1: c' / 9 AB 1: flat
15. 1A: C / 1 B 7:i/ 1 S 13: ^0 omitted / 3B beginning: ..
/ 3 T 15: '* omitted / 4 B 9: d / 4 A 12-13: d' e'

/
3 T 11-13:
5 A 1-5: f' e' d' d' c' / 5 A 7-12: a g a b-flat c' d'
/
/ 6 AB 5: / 6 A 6:0 /6 B 6:
5 T 7-9: d e f / 6S 3:
6 ST 7: /3 AT 9: c'
16-1. 4 S:, /7 A: /T T: / 7 B 1: d / 8 S:-~ / 9 A: ~E/
9-10 B: LE2/ 11 T: / 12 S' ~
16-2. 22 A 2: omitted
16-3. 22 A 2: omitted
208
19. B: 3 / 7 S 3:/' omitted ?/ TA 4: /11S 4:
20. SATB: 3 / 4 TB: 7/5 SAT: 7
5 B: 7/ 6s: / 6 ATB:
21. S: 3 / B: meter signature omitted / 2 A: 5 T 1: *
/
8 S: / 11 S 3:
22. 2 SA:j7
2 3-1. SATB: omitted / 2 T 3-4: c' c' / 4 A 2: f' / 4 A 4: e'
/
7 A 1-2: f' f' / 7 A 3-4: e' e' / 10 A 3-4: f' f' / 11 A 1-2: e' e'
/
12-13 A: oe / 13 SB: R
2 3-3. 2 A 2:
24. A: key signature omitted / 1 A 1-2: d' d' 1 B:J j/

/
2 A 5: flat omitted / 2 T 2: f / 2 T 3: g 3 AB 1: flat omitted
/
/
5 A 5: d' / 5 T 3: a / 5 B 3: e / 6 A 1: e' / 6 B 1: J
/
6 B 2-3: / 10 S 5: M / 10 A 2: 9 / 10 T 3: q / 10 B 5: R
25. SAB: key signature omitted / T: C / 4-5 S: 1 / 4-5 A: F
4-5 T: F / 4-5 B: 7S 1: flat omitted!? B 1:
/CM /
/
9 SAT: /10 SATB: / 14 S: / 14-16 T: ./ 15 S:
19 ATB: / 20 ATB: / 33 B 2:
26: B: C omitted / 1 A: extra f' / 2 S 3: g' / 2 A 8:0

/
2 B 8: / 3 T 13: b / 3 B 13: g / 4 S 8: omitted

/
4 A 6-9: / 5 B 6-7: f f / ST 11: 0 / 5 T 13: 0

/
5 A 14: oi / 5 T 14:1oi / 5 B 14: / 5 519: / 6 A 7:

/
6 T: extra c' / 6S8: /7 B 6: f /7 A 7: /TB
7 A 11: 1/ 17: 01 7 A 12: / 7 B 12:

/
8 A 5-7: / 8 T 9: "o omitted / 9 B 5: f / 9 A 6:

/
9 A 9:* / 9 B 9: 01/ 9 B 10: / 9 A 11: 0 / 9 S16: 0

209
27 -1. 3 S 1: g' 4 T 1-2: g g / 8 S 4:
/
27 -2. 3 S 1: g' 4 T 1-2:g g / 7 S 1: / 7 S 3-4: e" e" / 8 S 4:
/
28. s: T: SAT: C omitted / 4 S 1-2: b-flat' b-fat'
/
/
8 AT 3: / 8 B 3: omitted
29. 8 T 3: 11 S: .L omitted / 13 S 1: / 15 S 3: l / 15 T 2: El
/
/
23 T 1: /25S 2 : a' omitted / 37 S 4: / 43 S 1: -/

.
45 S: q / 45 S: " omitted / 73 A: l / 77 B 1-2:0
/
78 A 1-2: / 79 A 1-2: / 79 B 2: / 79 B 3-80 B 1:EI
/
83 A 2nd half: extra / 87 A 1-3, 88 1: e" d" e" f" / 90 A: 9
/
90 B: 9 / 97 S 4: / 98 S 3: / 101 T: 101 B:
106 T 4-107T 1 / 107 A lst half: extra / 108 S 2nd half:
extra / 108 T 1st half: extra / 108 B 3: f omitted
/
109 A :"o~ / 1 13 A: 3 J / 118 S: 3 Je/ 118 A 2: c'
/
118 A 3-120 A 2 S / 119 T: / 120 S: 9 / 120 T: 0 o 9
/
120 B 9 / 123 A 1--2: / 123-124 B:LT / 125 A 2:
125 A 2: /1 26 A 3: / 126 B 1-2: [I / 127 T:
128 A 2: 29 A 2: / 130 A 2: . / 131 S 1:
131 S 3-5: / 132 B 2-133 B 1-2: % I* / 133 S lst half:
extra /136 B: / 137T:H /137 B 3-138 B:-l

/
138 S: ' omitted / 139 T: 9 / 139 B: 9
30. S: key signature omitted / 1 T:j j / 1 B: a j 0 0

/
1 A 4: o / 2 B 2-3: / 2 S 4: o / 3 A 1-2: 0 0 / 3 A 9: 0
/
5 A 3: o /6 B 2: flat omitted / 6T 3: flat omitted

/
6 A 5-6: o0 / 7 T 4: - omitted / 7 S 6: omitted

/
9 A 1-2: o o / 9 AB 6: o / 9 T 6: flat omitted / 10 TB 1: flat
omitted / 10 SA 4-5: 0 0 / 11 SA 6: o / 13 A 2: 0 / 13 S 4:
/
210
13 AB 6: o / 13 T 6: flat omitted / 13 T 7: 0 / 14 TB 1: flat
omitted / 15 A: section ends with extra o f' / 15 T 4: o
/
15 B 5: "7 omitted / 15 S 6: 0
31. S: / T:I / ST: omitted / 4 S 1-2: b-flat' b-flat'
32-1. 6 AB 3: / 12 A 5: flat omitted / 12 A 7: / 14 AB 1:
14 A 1-4, 15 A 1: f' f' e' e' e'
32-2. 6 AB 3: / 8 A 3: / 12 A 5: flat omitted / 12 A 7:
14 AB 1:
34-1. B: C omitted / 3 S 4: * / 3 B 6-7: / 3 A 7: g'
/
4 A 5-9: / 5 T 1-21: all e' / 5 B 20: e / 5 T 21:
'0 omitted
34-2. 3 A 7: g' / 4 A 5-10: 0
34-3. B C omitted! 3 B 6-7: /5 B 20: e
34-4. 1 S 7: omitted
34-5. 1 S 7: omitted
35. S: 03 /6 B 1: / 13 A lst beat: extra 7
36. SA:A omitted / 6 A 1-2: f' e' /6 A 5: / 7 S 4:
18 S 3:
37. 1 A1:
211
APPENDIX A
INSCRIPTIONS: SANTA EULALIA M. MD. 2,

f. lir, 30v, 43v
212
a) -H
-H
P4 a)
H a)
Cd CC
P, 'H C -H EC) Tr\
-H
Cd C aa) 0C Ca
4-) *H 'H
Ca
C)m
co)
H )a
a-)
-H ,C rd ad C
-H a) *H
rda) 0 a)-H *H a)
-H
% a)
-H M ca) Cd C
tLi 4-)
g Cd a) a-Ca
OEd a,
a
C 'H
a)4
a,-
za) Cd
C)
0H U
H
0 Cd ) d rd
) .C
a)4
cd
a)
'a) rd
a)
a,
d cd
H
H H H H a)
0
a) a) a) a) A
)
Ca 0 a , , 'H 'H 'H
0 C)
0 0 E a) a a)
C) C) CH
Ca Ca Ca C
H H 0U
H
H H
H H a) -)
a) a)
a, Ca
a1) 4-A Ad 0 Cd
0 C t rd 0 'H -a ?S:" a, H H 4-)
a, a,
0 C)
H
Cd
C C) Ca
-
rd
Ca
a) -)
H) - C C Ca a HH
a) 0*i a) C
- co Cf E a) 'H
H
a,
a) ,Ca)
H - a) a) a a a rd
&
0 a)
a)
coCd -H
'H Cd
a, a)
C) A
LO 0 0 C)
H A
'H 0a) Ha) a)
rd
o
0
H
Cd
d E Ca
-H a Ca d
-a) a) 'H xa a)
a) 0 a) a) a) 'H
Ca Ca Ca a)
C) d
,
'H C) d
'd a Ca 0 0 a-) Cd
0 C) Cd 4- C) C
a, C) 0 0 a)
a) 0
'H C) C) C a)
C C a) 'H r rd ,C'd
a-)
Pa) a) C)a, Sd 0 t
H a -H C)a) C
LJ H *H
a) H Ha Ha H H H 0a)
,C % 'Ha) 'H H 'a)a
0
'H 'H Ena)
a C H 0 Ca U
rd 0 ,C C)
C a, a) a)ard
4-) H0 -H
a) C) U) 'H H a) 'H 0 a,
a) aya a)CaO
>
d 0C H
"C
a-) a H 'H'-HL.,J
d d H H C) a)
C) 0 'H 'H'-H a) C) 'H
0 ,0 a) a0a A a) C) a)
>HC)
0 0
H H Cd C) U) &a) H
P 0 H C)
C)j
a)H aJ cc)
E-c 0
'C E-ia ' C

a) COa2
H a) a)C
o a)C a)
H a) 'C
a) Qa) a
o C) O E-
213
INSCRIPTION (f. 30v)
Ju0 calito [or caliyol maestro de cabilya

214
INSCRIPT ION (f, 143v)
de cabira .8'
nican moma [or nona] canu oficio SeJor maestro
Matheo yzdadan nuestro senor [ ] cabilla orlendio
des au nase [ I del puebro de yzdadan

215
APPENDIX B
SANTA EULALIA M. MD. 3, f. 9v

216
I I I I
-
7U- 7u-z, tm -it-i
I... |I|1 -0
S
7U-ia ne- L, d - lm n-
8 7A- Lo-ni 7ne-av do - 7fL- fZa CO
me do- 7-msm A-nL-mL n- L o - 0-
LA I .I.J% i
I WI
1ii 8
I -- -M
8 __~ ,~ ~~ d- m- mL77L
217
a r Te-c-L+ Au- mi ~~
an~- -u5-
-Fl--dm ..J14
an- e an- o --le suwo

-Fat|
'
26
218
I - n--,-- In___nI s -I L
jA RIM.
31
-I.t L4 ___i i j 1-
8 ns]om 7esge n -ca- i- o - i" e MW
41
219
SOURCES OF FIGURES AND PLATES
Figure 1. Wauchope, Robert, ed. Handbook of Middle American
Indians, 16. vols. Austin: University of Texas Press, 1965-76, VII, 47;
Figure 20. Codex Philipp J. Becker I (Le Manuscrit du Cacique), from the
upper strip of panels 8-9; Figure 21. Saville, Marshall H. The Wood-
Carver's Art in Ancient Mexico. NY: Museum of the American Indian, Heye
Foundation, 1925, 44.
Plate 1. Recinos, Adrin. Monografra del Departamento de Hue-
huetenango, 2nd edition. Guatemala: Editorial del Ministerio de Educa-
ci6n Publica, 1954, 368; Plate 2. LaFarge, Oliver. Santa Eulalia; The
Religion of a Cuchumata'n Indian Town. Chicago: University of Chicago
Press, 1947, 2; Plate 3. Ibid.; Plate 4. Recinos, op. cit., 17; Plate 5.
La Farge, op. cit., 34; Plate 6. Ibid., 88; Plate 7. Ibid., 99; Plate 8.
Tid. ; Plate 9. Ibid., 98; Plate 10. Ibid., 111; Plate 11. Ibid., 9;
Plate 12. Ibid., 89; Plate 13. Recinos, op. cit., 369; Plate 14. La
Farge, op. 'cit., 8; Plate 15. Ibid., 98; Plate 16. Recinos, op. cit.,
368; Plate 17. Ibid., 384; Plate 18. Recinos, Adrian. Monograjia del
Departamento de Huehuetenango, Re pub lica de Guatemala. Guatemala, A. C.,
1913, 212; Plate 19. Ibid., 208; Plate 20. La Farge, op. cit., 111;
Plate 21. Ibid., 35; Plate 22. Recinos (1954), op. cit., 337.
220
BIBLIOGRAPHY
Books
Apel, Willi. The Notation of Polyphonic Music, 900-1600, 5th ed.,

rev. Cambridge, Massachusetts: The Mediaeval Academy of
America, 1953.
Attwater, Donald. A Dictionary of Saints. London: Burns and

Oates, 1958.
Biblorum Sacrorum; iuxta Vulgatam Clementinam, nova ed., ed. by

Aloisus Gramatica. Romae: Typis Polyglottis Vaticanis, 1946.
Bittle, Berchmans. A Saint a Day According to the Liturgical Calendar

of the Church. Milwaukee: Bruce Publishing Co., 1958.
Bradshaw, Murray C. The Falsobordone: A Study in Renaissance and

Baroque Music. Stuttgart: Hnssler-Verlag, 1978.
Butler, Alban. Butler's Lives of the Saints, 4 vols., ed. Herbert

Thurston, S. J. and Donald Attwater. New York: Kenedy,.1956.
Capelli, Adriano. Dizionario di Abbreviature Latine ed Italiane.

Milano: Hoepli, 1961.
Chase, Gilbert. A Guide to the Music of Latin America. Washington,

D.C.: Pan American Union and Library of Congress, 1962.
Chase, Gilbert. The Music of Spain. New York: W. W. Norton and

Co., Inc., 1941.
Davila Garibi, Jose Ignacio. Del Nahuatl al Espanol. Tacubaya, D.F.:

Istituto Panamericano de Geografia e Historia, Publicacin nm.
4o, 1939.
Diaz, Victor Miguel. Las Bellas Artes en Guatemala. Folletin del

Diario de Centro America. Guatemala: Tipografia Nacional, 1934.
Ford, Jeremiah Denis Matthias. Old Spanish Readings. New York:

Gordian Press, Inc., 1967.
Gage, Thomas. Travels in the New World, ed. by J. Eric S. Thompson.

Norman, Oklahoma: University of Oklahoma Press, 1958.
Gili y Gaya, Samuel. Ortografia Practica, 6th ed. Barcelona:

Bibliograf, S.A., 1965.
221
Holweck, Frederick. A Biographical Dictionary of the Saints. Detroit:

Gale Research Co., 1969.
Judson, Lyman and Ellen Judson. Let's Go to Guatemala. New York:

Harper and Brothers Publishers, 1949.
Kroeber, Alfred Louis. Cultural and Natural Areas of Native North

America. Berkeley, California: University of California Press,
194?.
Kuss, Malena. Latin American Music in Contemporary Reference Sources:

A Study Session. Paramount, California: Academy Printing and
Publishing Co., 1976.
La Farge, Oliver. Santa Eulalia; The Religion of a Cuchumatan Indian

Town. Chicago: University of Chicago Press, 1947.
Mayers, Marvin K., ed. Languages of Guatemala. The Hague: Mouton

and Co., 1965.
Merriam, Alan P. The Anthropology of Music. Evanston, Illinois:

Northwestern University Press, 1964.
Moore, Richard E. Historical Dictionary of Guatemala. Metuchen,

New Jersey: The Scarecrow Press, Inc., 1967.
Munoz, Joaquin and Anna Bell Ward. Guatemala Ancient and Modern.
New York: The Pyramid Press Publishers, 1940.
Nash, Manning. Machine Age Maya; The Industrialization of a Guatemalan

Community (= Memoirs of the American Anthropological Association,
No. 87; The Free Press, 1958). Chicago: University of Chicago
Press, 1967.
Nettl, Bruno. Theory and Method in Ethnomusicology. London: The

Free Press of Glencoe, 1964.
Newton, Norman. Thomas Gage in Spanish America. New York: Barnes

and Noble, Inc., 1969.
Recinos, Adrian. Monografia del Departamento de Huehuetenango, 2nd

Cd. (uatemala: Editorial del Ministerio de Educacion Publica,
Recinos, Adrian. Monografia del Departamento de Huehuetenango,

Republica de Guatemala. Guatemala, A.C., 1913.
Reese, Gustave. Music in the Middle Ages. New York: W. W. Norton,

1940.
222
Sacrorum Bibtiorum Vulgate Editionis Concordantie, ed. by Franciscus

Lucas and Hubert Phalese. Insulis: L. Lefort, 1837.
Saenz Poggio, Jose. Historia de la M1sica Guatemalteca desde la

Monarquia Espa5gola, hasta Fines del A1'o de 1877. Guatemala:
Imprenta de la Aurora, 1878.
Saville, Marshall H. The Wood-Carver's Art in Ancient Mexico.

New York: Museum of the American Indian, Heye Foundation, 1925.
Schindler, Kurt. Folk Music and Poetry of Spain and Portugal.

New York: Hispanic Institute in the United States, 1941.
Smith, Waldemar R. The Fiesta System and Economic Change.

New York: Columbia University Press, 1977.
Spaulding, Robert K. How Spanish Grew. Berkeley and Los Angeles:

University of California Press, 1948.
Spiess, Lincoln and Thomas Stanford. An Introduction to Certain

Mexican Musical Archives. Detroit: Information Coordinators,
Inc., 1969.
Stevenson, Robert. Christmas Music from Baroque Mexico. Los Angeles:

University of California Press, 1974.
Stevenson, Robert. MAsic in Aztec and Inca Territory. Berkeley and

Los Angeles: University of California Press, 1968.
Stevenson, Robert. Music in Mexico; A Historical Survey. New York:

Thomas Y. Crowell Co., 1952.
Stevenson, Robert. The Music of Peru; Aboriginal and Viceroyal Epochs.

Washington, D.C.: Pan American Union, 1960.
Stevenson, Robert. Renaissance and Baroque Musica Sources in the

Americas. Washington, D.C.: General Secretariat, Organization
of American States, 1970.
Stevenson, Robert. Spanish Cathedral Music in the Golden Age.

Los Angeles: University of California Press, 1961.
Stevenson, Robert. Spanish Music in the Age of Columbus. The Hague:

Martinus Nijhoff, 1960.
lannenbatm, Sa'nuel A. The Handwriting of the Renaissance. New York:

Columbia University Press, 1930.
Tax, Sol. Heritage of Conquest. New York: Cooper Square Publishers,

Inc., 1968.
223
Tax, Sol. Penny Capitalism; A Guatemalan Indian Economy. Chicago:

University of Chicago Press, 1963.
Wagley, Charles. Economics of a Guatemalan Village (= Memoirs of the

American Anthropological Association, No. 58; Menasha, Wisconsin,
1941). New York: Kraus Reprint Co., 1969.
Wagley, Charles. The Social and Religious Life of a Guatemalan Village

(= Memoirs of the American Anthropological Association, No. 71).
American Anthropological Association, 1949.
Wauchope, Robert, ed . Handbook of Middle American Indians, 16 vols.

Austin: University of Texas Press, 1965-76.
Whetten, Nathan L. Guatemala; The Land and the People. New Haven:
Yale University Press, 1961.
Articles
Apel, Willi. "Alternation (alternatim)," Harvard Dictionary of Music,

2nd ed. Cambridge, Massachusetts: The Belknap Press of Harvard
University Press, 1969, 30.
Apel, Willi. "Fabord6n," Harvard Dictionary of Music, 2nd ed. Cambridge,

Massachusetts: The Belknap Press of Harvard University Press, 1969,
304.
Apel, Willi. "Falsobordone," Harvard Dictionary of Music, 2nd ed.

Cambridge, Massachusetts: The Belknap Press of Harvard University
Press, 1969, 305-06.
Apel, Willi. "Fauxbourdon," Harvard Dictionary of Music, 2nd ed.

Press, 1969, 309-10.
Apel, Willi. "Litany," Harvard Dictionary of Music, 2nd ed. Cambridge,

Massachusetts: The Belknap Press of Harvard University Press,
1969, 485-86.
Apel, Will. "Versicle," Harvard Dictionary of Music, 2nd ed.

Press, 1969, 899.
Catalyne, Alice Ray. "Music of the Sixteenth to Eighteenth Centuries in

the Cathedral of Puebla, Mexico," Yearbook, Inter-American Institute
for Musical Research II. New Orleans: Tulane University, 1966,
75-90.
224
Centrangolo, Anibal E. "La Aplicaci6n de su Texto Nhuatl a un Himno

de Hernando Franco," Ficta 11/1 (1979), 27-35.
Nash, June. "Protestantism in an Indian Village in the Western

Highlands of Guatemala," Alpha Kappa Deltan XXX (Winter 1960),
49-53.
Orrego-Salas, Juan. "Auto," Harvard Dictionary of Music, 2nd ed.

Press, 1969, 65-66.
Orrego-Salas, Juan. "Villancico," Harvard Dictionary of Music, 2nd ed.

Press, 1969, 902-03.
Pope, Isabel. "Musical and Metrical Form of the Villancico: Notes on

Its Development and Its Role in Music and Literature in the
Fifteenth Century," Annales Musicologiques II. Paris: Socit6
de Musique d'Autrefois, 1954, 189-214.
Pope, Isabel. "Musical Development and Form of the Spanish Villancico,"

Papers of the American Musicological Society, New York: American
Musicological Society, Inc., 1946, 11-22.
Pope, Isabel. "El Villancico Polif6nico," Cancionero de Upsala, ed. by

Jesus Bal y Gay. Mexico City: El Colegio de Mexico, 1944, 15-43.
Pujol, David. "Polifonia Espanola Desconocida Conservada en el Archivo

Capitular de la Catedral de Guatemala y de la Iglesia Parroquial de
Santa Eulalia de Jacaltenango," Annuario Musical XX (1965), 3-10.
Querol Galvad', Miguel. "El romance polif6nico en el siglo XVII,"

Anuario Musical X (1965), 111-120.
Siegel, Morris. "Religion in Western Guatemala: A Product of

Acculturation," American Anthropologist n.s., XLIII/1 (January-
March 1941), 62-T6.
Siegel, Morris. "Resistances to Culture Change in Western Guatemala,"

Sociology and Social Research XXV (September 1940-August 1941),
414-30.
Smoldon, William L. "Liturgical Music-Drama," Grove's Dictionary of

Music and Musicians, 5th ed., 10 vols., ed. Eric Blom. London:
Macmillan, 1954-61, V, 317-342.
Stevenson, Robert. "The Afro-American Musical Legacy to 1800,"

Musical Quarterly LIV/4 (October 1968), 490-495.
225
Stevenson, Robert. "European Music in 16th-Century Guatemala," The

Musical Quarterly L/3 (July 1964), 341-52.
Stevenson, Robert. "The First New World Composers: Fresh Data from
Peninsular Archives," Journal of the American Musicological
Society XXIII/1 (Spring 1970), 95-106.
Stevenson, Robert. "Guatemala Cathedral to 1803," Inter-American

Music Review 11/2 (Spring-Summer 1980), 27-71.
Tax, Sol. "The Municipios of the Midwestern Highlands of Guatemala,"

American Anthropologist n.s., XXXIX/3 (July-September 1937),
423-444.
Trend, J. B., "Villancico," Grove's Dictionary of Music and Musicians,

5th ed., 10 vols., ed. Eric Blom. London: Macmillan, 1954-61,
VIII, 797.
Trumble, Ernest. "The Contratenors of Fauxbourdon," Journal of the

American Musicological Society VIII/1 (Spring 1955), 71-72.
Unpublished Materials
Borg, Paul. The European Repertoire of the Guatemalan Music MS. No. 8
in the Lilly Library, Bloomington, Indiana. Unpublished Master's
thesis, Indiana University, 1978.
Borg, Paul. The Polyphonic Music in the Guatemalan Music Manuscripts of

the Lilly Library. Dissertation in progress, Indiana University.
Garven, Richard. San Juan Ixcoi Mass: A Study of Liturgical Music in

Northwestern Guatemala. Unpublished Master's thesis, North Texas
State University, 1979.
Ray, Alice E. The Double-Choir Music of Juan de Padilla, Seventeenth

Century Composer in Mexico. Unpublished Ph.D. dissertation,
University of Southern California, 1953.
Printed Music
Angles, Higinio, ed. Cancionero Musical de Palacio, Vols. V, X of

Monuments de la A1sica Espalola. Barcelona: Consejo Superior
de Investigaciones Cientificas, Instituto Espaol de Musicologia,
1941-.
226
Bal y Gay, Jesus, ed. Cancionero de Upsala. Mexico City: El Colegio

de Mexico, 1944.
Graduate Romanum. Parisiis: Desclee and Socil, 1948.
Liber Usualis. Parisiis: Desclee and Socii, 1964.
Morales, Crist6bal de. Officium Defunctorum in Vol. I of Hispaniae

Schola Musica Sacra, 8 vols., ed. Felipe Pedrell. Barcelona,
1894. Reprinted in 4 vols. New York: Johnson Reprint Corporation,
1971, I-II, 1-19.
Querol Gavald., Miguel, ed, Cancionero musical de la Casa de Medinaceli,

Vols. XIII, IX of Monumentos de Ia Misica Espaota. Barcelona:
Consejo Superior de Investigaciones Cientificas, Instituto Espanol
de Musicologia, 1941-
Schering, Arnold. Geschichte der Musik in Beispielen. Wiesbaden:

Breitkopf and Hartel, 1959.
Music Manusoript-s
Latin American Mss. Guatemala, Music Mss. Nos. 1-15. Microfilm of the
manuscripts obtained from Lilly Library, Indiana University,
Bloomington, Indiana.

Santa Eulalia - Guatemala PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Santa Eulalia - Guatemala PDF

Uploaded by

Copyright:

Available Formats

'vo,76

Fulfillment of the Requirements

For the Degree of

ana University. The manuscript contains thirty-four four-part songs

aspects of Mayan culture.

Sheila Raney Baird

LIST OF PLATES.. ........................-.--...... vii

LIST OF TABLES.. ........................ viii

The San Miguel Acatan Repertory

II. STRUCTURE AND FORM OF THE PIECES IN

III. COMMENTARY. ....................... 86

IV. EDITION OF SANTA EULALIA M. MD. 7 . . .. . . . . . . . . 141

CRITICAL NOTES .. .. . ................-.-.-.-.-.--- 206

A. INSCRIPTIONS: SANTA EULALIA M. MD. 7, f. llr, 30v, 43v 211

B. SANTA EULALIA M. MD. 3, f. 9v... . . . . . . . . . . . . . 215

1. Map of the northwestern highlands of Guatemala - . . . 52

11. "Donec ponam/Tecum prinipium/Dominus adextris/

12. "Maria magdalena," Santa Eula2ia M. Md. 7,

and the huehuetl . - 78

from the south .-........-...

road, while Indian

returning from the

front of the Santa Eulalia

11. Morning prayer in front of the church at

playing the flute

18. A different view of the San Mateo Ixtatan 47

20. Chapel of the Rosario, built by the principal

21. The calvario, an adobe chapel in Santa Eulalia

I. Numbering Systems of the Lilly Library's

II. Common Letter Substitutions Found in

III. Catalog and Concordances for

12. El fiel peso y medida ....--... 162

13. Sed miguel fuerza y escuto . . 164

14. principatus .......... . 167

15. Domine ad ajuvando/gloria patri 168

16-i. muestre la tierra alegria....... 171

17. Dixit Dominus Efragment]- 173

18. jesucristo nuestro dios [fragment] - . . . . . . . . - 173

19. De la hermosa Rebeca . . . . . . . 174

20. forgado de amor de amores......... . . . . . . . . . . 175

21. Alegria pecadores .......... 176

22. Desde el gielo bajo Dios . ..-.-.-...-.-.-.. - - 177

.... -.- -a- - - 178

25. Si tanta gloria se da . . . .. 0-0-a-0 - . - - - 180

28. 0 virgen maria .........................

29. Et misericordia/Deposuit potendes/Susgepit iisrael/

30. Ne recorderis - - 0- 0- a- - 194

31. Maria magdalena...- - - o - - - 196

-00- -198 32--L. bay magalhi . . . . - - -.-0-0 - -,- - - -

tibi soli pecaui.....--.-.-.-.-.-.-.-. - - -0 -1 - . . 200

Abrase el reyno del cielo -- - a-0-0 - .202 - -

. .D.*-*-0-4 - -0-0-0-i - 205

The San Miuel Acatn Repertory

The Lilly Library of Indiana University owns a group of late

sixteenth and early seventeenth-century Guatemalan music manuscripts con-

Ixtatan in the Department of Huehuetenango in northwest Guatemala. All.

were designated by Robert Stevenson as the San Miguel Acatan Repertory

The manuscripts have become known through Stevenson's writings by

seven originated in Santa Eulalia, they were further identified by the

basis of this study is referred to as Santa Eulalia M. Md. 7 or simply

as M. Md. 7. A complete list of the manuscripts can be found in Table I.

1. Information is from photocopy of Lilly catalog cards.

2. Robert Stevenson, Renaissance and Baroque Musical Sources in the

. .D.--0-4 - -0-0-0-i - 205

Lilly Library Numbers Borg Classification*