Hearing Faith: Music as Theology in the Spanish Empire

‎Contents
‎Acknowledgments
‎Illustrations and Tables
‎Part 1. Listening for Faith
	‎Chapter 1. Villancicos as Musical Theology
		‎1. Singing about Singing
		‎2. Paying Attention to Villancicos
		‎3. Music about Music in the Villancico Genre
			‎3.1. Imitative References to Music: Birdsong, Instruments, Songs and Dances
				‎3.1.1. Becoming Clarions
				‎3.1.2. Dance and Difference
				‎3.1.3. Villancicos about Villancicos
			‎3.2. Abstract References to Music as Concept or Symbol
				‎3.2.1. Solmization Puns and Theology of Voice Alone
				‎3.2.2. Music Itself as a Conceit
				‎3.2.3. Pointing to a Higher Music: Heavenly and Angelic Music
		‎4. Theological Listening in the Neoplatonic Tradition
			‎4.1. Hearing the Book of Nature Read Aloud
			‎4.2. Voice as Expression of Man, the Microcosm
	‎Chapter 2. Making Faith Appeal to Hearing
		‎1. “The Sense Most Easily Deceived”
		‎2. Well-Tempered Hearing
			‎2.1. Irízar: Battle of the Senses
			‎2.2. Carríon: Internal Conflict
			‎2.3. Sensory Confusion
			‎2.4. The Triumph of Hearing
		‎3. Accommodating and Training the Ear
			‎3.1. Experiencing Spiritual Truth through Music
			‎3.2. Cultural Impediments to Hearing
		‎4. Impaired Hearers, Incompetent Teachers: “Villancicos of the Deaf”
			‎4.1. Laughing at the Deaf (Gutiérrez de Padilla, Puebla Cathedral)
			‎4.2. Learning from the Deaf (Ruiz, Madrid Royal Chapel)
		‎5. Failures of Faithful Hearing
			‎5.1. “Make a Hedge around Your Ears”
‎Part 2. Listening for Unhearable Music
	‎Chapter 3. Christ as Singer and Song (Puebla, 1657)
		‎1. “Voices of the Chapel Choir” and the “Unspeaking Word”
		‎2. Music about Music in the Voices of Puebla’s Chapel Choir
			‎2.1. Projecting the Words
			‎2.2. Depicting the Words
			‎2.3. Expression and Madrigal Style
		‎3. Devotion to Christ as Singer and Song
		‎4. Establishing a Pedigree in a Lineage of Metamusical Composition
		‎5. “All Who Heard It Were Amazed”
	‎Chapter 4. Heavenly Dissonance (Montserrat, 1660s)
		‎1. Cererols and the Boys’ School Choir of Montserrat
		‎2. The “New Consonance”
		‎3. Worldly and Heavenly Music
			‎3.1. Listening for the World Beyond
			‎3.2. Dissonant Planets
		‎4. Genealogies of Heavenly Music
		‎5. The Problem of Perfection
	‎Chapter 5. Offering and Imitation (Zaragoza, 1650–1700)
		‎1. “Let Voices Ascend to Heaven”: From Bruna to Ambiela
			‎1.1. Bruna: Voices as Flames of Self-Offering
			‎1.2. Ambiela: Voices Rising in Intercession
				‎1.2.1. Outdoing and Overdoing
			‎1.3. Offering Hearts and Voices through Music
		‎2. Christ as a Vihuela (Cáseda)
			‎2.1. Christ as a Musical Instrument
				‎2.1.1. Vihuela and Cithara
			‎2.2. Representing the Vihuela, Representing Christ
			‎2.3. False Music
		‎3. Conclusions
‎Bibliography
‎Index