No. 73 (2018)

• [es] Editorial

  Luis Antonio González Marín, Antonio Ezquerro Esteban

  7

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Articles

• [es] Acoustical, Archaeometric and Musicological Study of Archaeological Musical Instruments: the Numantian Ceramic Trumpets (3rd-1st Centuries B.C.)

  Raquel Jiménez Pasalodos, Fernando Agua Martínez, Juan Jesús Padilla Fernández, Mª Ángeles Villegas Broncano, Manuel García Heras

  9-22

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• [es] Historiography on Liturgical Monody and Processions in Aragon in the late Middle Ages and its Relation with Liturgical Books

  David Andrés Fernández

  23-36

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• [es] The Mexica Ceremonial Music

  José Antonio Guzmán Bravo

  37-52

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• [es] Music and its veiling. Musical ideas and customs of the Spanish great households (1580-1640) in the Golden Age; a study case of “latent state”

  Ignacio Rodulfo Hazen

  53-62

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• [es] Juan Arañés Sallén (*Zaragoza?, 1580a; †La Seu d’Urgell?, 1649p). Towards a New Critical Biography of a relevant Spanish Musician from the Seventeenth Century

  Francisco Javier Cerveró Martínez

  63-80

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• [es] Competitive Exams to become an Organist in 17th Century Salamanca cathedral: between Orthodoxy and Innovation

  Louis Jambou

  81-102

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• [es] Various fortune of a tone of comedians: “Love the one who loves, Anajarte” of The beast, the lightning, the stone

  Carmelo Caballero Fernández-Rufete

  103-122

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• [ca] The Organ School of Montserrat Monastery

  Daniel Codina i Giol

  123-134

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• [es] The Musical Legacy of Pedro de Ardanaz and Miguel de Ambiela. Two Inventories with Papers of Music in Latin from the cathedral of Toledo (1713 and 1737)

  Carlos Martínez Gil

  135-152

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• [es] Francisco Viñas and the new conception of music in Jaca Cathedral (1722-1731)

  Sara Escuer Salcedo

  153-166

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• [es] The existence in Spain of a third large collection of sonatas by D. Scarlatti copied by the scribe of the Venice (Books I-XIII) and Parma (Books I-XV) Manuscripts

  Celestino Yáñez Navarro

  167-186

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• [es] Anselmo Viola (*1738; †1798) and his context. Keyboard output (sonatas) and its instruments (organ, clavichord and harpsichord) in the Iberian peninsula

  Maria Lluïssa Cortada i Noguero

  187-192

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• [es] La Música, but Music too: new canons by Tomás de Iriarte

  Victoriano J. Pérez Mancilla

  193-200

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• [es] Instrumental verses between the New Spain viceroyalty and the independent Mexico

  Jazmín Rincón Serratos

  201-214

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• [es] The ‘Bernardon’s Legacy’ in the Music Archive of Saragossa cathedrals (E-Zac), A case study: waltzes by José Barón

  Manuel Grande Escosa

  215-242

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• [es] The Piano Roll Collection of the Fernández-Shaw Family: A Preliminar Study

  Esther Burgos Bordonau, Antonio Carpallo Bautista

  243-250

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• [es] The founding stage of the Philharmonic Society of León (1907-1914)

  José Ignacio Suárez García

  251-274

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• [es] The Metropolitan Opera House sings with Spanish voice: the New Yorker genesis of the Soprano Maria Barrientos

  Virginia Sánchez Rodríguez

  275-284

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• [de] The beginnings of Spanish musicology from the perspective of German-speaking colleagues. A small trail to Felipe Pedrell and Higinio Anglès

  Thomas Hochradner

  285-290

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• [ca] Ethnomusicological signification of the Professor Josep Crivillé i Bargalló (*1947; †2012). (Reading of some Lectures about his Mastership and from the Memory)

  Ramon Vilar i Herms

  291-296

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• [es] Antón García Abril’s Cántico de las siete estrellas: towards a collective construction of meaning

  Juan José Pastor Comín

  297-310

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• [es] Contributors

  Equipo Editorial

  311-314

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