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The Sound of Profession Ceremonies in Novohispanic Convents

Published online by Cambridge University Press:  04 June 2019

CESAR D. FAVILA
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Abstract

Nuns in New Spain were celebrated with music and elaborate rituals when they took the habit and professed in a convent. These grandiose profession ceremonies drew in a host of urban citizens to the convent churches. Indeed, “more girls are smitten by the ceremony, than anything else,” remarked Fanny Calderón, wife of a Spanish ambassador who lived in Mexico City in the early 1840s, confirming that the iconic festivity endured well into the nineteenth century after Mexico's independence.

This article on nuns’ professions is framed within the Order of the Immaculate Conception (Conceptionists). One of the largest extant collections of Novohispanic convent music comes from the Conceptionist community of the Santísima Trinidad, founded in seventeenth-century Puebla. The manuscripts are preserved at Centro Nacional de Investigación, Documentación e Información Musical “Carlos Chávez” in Mexico City, and they contain profession villancicos. My research on Conceptionist ritual books and biographies of noteworthy nuns allows me to place the villancicos within the wider context of Conceptionist devotion, convent race relations, and artistic patronage. The texts for the villancicos present women as the main subject of the compositions, which adorned a spectacular ritual also centered on women. The profession ceremony is, therefore, a valuable source to begin understanding Novohispanic women's contribution to music making.

Type
Research Article
Information
Journal of the Society for American Music , Volume 13 , Issue 2 , May 2019 , pp. 143 - 170
Copyright
Copyright © The Society for American Music 2019 

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References

References

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Córdova, James M. The Art of Professing in Bourbon Mexico: Crowned-Nun Portraits and Reform in the Convent. Austin: University of Texas Press, 2014.Google Scholar
Cusick, Suzanne G. “Gendering Modern Music: Thoughts on the Monteverdi-Artusi Controversy.” Journal of the American Musicological Society 46, no. 1 (Spring 1993): 1–25.Google Scholar
Davies, Drew Edward. “Villancicos from Mexico City for the Virgin of Guadalupe.” Early Music 39, no. 2 (May 2011): 229–44.Google Scholar
Díaz, Josef, and Stratton-Pruitt, Suzanne. Painting the Divine: Images of Mary in the New World. Albuquerque, NM: Fresco Books, 2014.Google Scholar
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Flores Enríquez, Alejandra Mayela. “Jardines Místicos Carmelitanos y su Representación en la Pintura del Siglo XVIII: Alegorías de la Perfección Monjil.” Master's thesis, Universidad Nacional Autónoma de México, 2014.Google Scholar
Gembero-Ustárroz, María. “De rosas cercada: Music by Francisco de la Huerta for the Nuns of Santa Ana de Ávila (1767–78).” In Devotional Music in the Iberian World, 1450–1800: The Villancico and Related Genres, edited by Knighton, Tess and Torrente, Álvaro, 321–62. Burlington, VT: Ashgate, 2007.Google Scholar
Goehring, James E. Ascetics, Society, and the Desert: Studies in Early Egyptian Monasticism. Harrisburg, PA: Trinity Press International, 1999.Google Scholar
Hamburger, Jeffrey F. and Marti, Susan. Crown and Veil: Female Monasticism from the Fifth to the Fifteenth Centuries. New York: Columbia University Press, 2008.Google Scholar
Hathaway, Janet. “‘Music Charms the Senses…’: Devotional Music in the Triunfos festivos of San Ginés, Madrid, 1656.” In Devotional Music in the Iberian World, 1450–1800: The Villancico and Related Genres, edited by Knighton, Tess and Torrente, Álvaro, 219–30. Burlington, VT: Ashgate, 2007.Google Scholar
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Kendrick, Robert L. Celestial Sirens: Nuns and Their Music in Early Modern Milan. Oxford: Oxford University Press, 1996.Google Scholar
Kendrick, Robert L. The Sounds of Milan, 1585–1650. Oxford: Oxford University Press, 2002.Google Scholar
Knighton, Tess. “Song Migrations: The Case of Adorámoste, Señor.” In Devotional Music in the Iberian World, 1450–1800: The Villancico and Related Genres, edited by Knighton, Tess and Torrente, Álvaro, 53–76. Burlington, VT: Ashgate, 2007.Google Scholar
Knighton, Tess, and Torrente, Álvaro, eds. Devotional Music in the Iberian World, 1450–1800: The Villancico and Related Genres. Burlington, VT: Ashgate, 2007.Google Scholar
Knighton, Tess, and Mazuela-Anguita, Ascensión, eds. Hearing the City in Early Modern Europe. Turnhout, Belgium: Brepols, 2018.Google Scholar
Kroger, Joseph, and Granziera, Patrizia. Aztec Goddesses and Christian Madonnas: Images of the Divine Feminine in Mexico. Burlington, VT: Ashgate, 2012.Google Scholar
Laird, Paul. Towards a History of the Spanish Villancico. Warren, MI: Harmonie Park, 1997.Google Scholar
Lavrin, Asunción. Brides of Christ: Conventual Life in Colonial Mexico. Stanford, CA: Stanford University Press, 2008.Google Scholar
Lavrin, Asunción. “The Role of Nunneries in the Economy of New Spain in the Eighteenth Century.” Hispanic American Historical Review 46, no. 4 (November 1966): 371–93.Google Scholar
Marín López, Javier. “Música y musicos entre dos mundos: la catedral de México y sus libros de polifonia.” PhD dissertation, University of Granada, 2007.Google Scholar
Marín López, Javier and Knighton, Tess. “The Musical Inventory of Mexico Cathedral, 1589: A Lost Document Rediscovered.” Early Music 36, no. 4 (November 1, 2008): 575–96.Google Scholar
Martínez, Alicia Bazarte, Enrique Tovar Esquivel, , and Martha A., Tronco Rosas. El convento Jerónimo de San Lorenzo, 1598–1867: Patrimonio Cultural del Instituo Politécnico Nacional. Mexico City: Instituto Politénico Nacional, 2001.Google Scholar
Martínez, María Elena. Genealogical Fictions: Limpieza de Sangre, Religion, and Gender in Colonial Mexico. Stanford, CA: Stanford University Press, 2008.Google Scholar
Monson, Craig. Disembodied Voices: Music and Culture in an Early Modern Italian Convent. Berkeley: University of California Press, 1995.Google Scholar
Monson, Craig. Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy. Chicago: University of Chicago Press, 2012.Google Scholar
Montero Alarcón, Alma. Monjas coronadas: profesión y muerte en hispanoamérica Virreinal. México: Museo Nacional del Virreinato, CONACULTA, INAH, 2008.Google Scholar
Morales Abril, Omar. “El esclavo negro Juan de Vera: Cantor, arpista y compositor de la catedral de Puebla (florevit 1575–1617).” Senderos: Revista de etnomusicología 3 (2013): 21–44.Google Scholar
Muriel, Josefina. La música en las instituciones femeninas novohispanas. Mexico City: Universidad Nacional Autónoma de México, 2009.Google Scholar
Muriel, Josefina. Las indias caciques de Corpus Christi. Mexico City: Universidad Nacional Autónoma de México, 2001.Google Scholar
Mues Orts, Paula. José de Ibarra: Profesor de la nobilísima arte de la pintura. Mexico City: Círculo de arte, 2001.Google Scholar
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