Eva Moreda Rodríguez
Biographic Data
| ID | 3685213 |
|---|---|
| NAME | Eva Moreda Rodríguez |
| GIVEN NAMES | Eva Moreda |
| FAMILY NAME | Rodríguez |
| SIGNATURE | RODRIGUEZ E M |
| AFFILIATIONS | University of Glasgow |
| ORCID | 0000-0003-4512-1992 |
| VERIFIED | Yes |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Singing about Singing: Images of Choirs in Aquitanian 'versaria'
Charles Atkinson and Gunilla Iversen, among others, have noted and discussed the increased presence of terms relating to music, singing and sound in Latin-language liturgical or paraliturgical music of the eleventh and twelfth centuries. The Aquitanian versus and Benedicamus trope repertoires provide a prime example, with words such as cantum, carmen, chorus and others recurring frequently. The recent development of scholarly strands (Emma Dillon…
Exile and Memory in Post-Franco Spain: Julián Orbón's Libro de cantares (1987)
In the song cycle Libro de cantares (1987), Spanish-Cuban composer Julián Orbón (1925–91) entered into a dialogue with the work of two other men who, like him, were displaced under the Franco regime: he re-used Asturian folk songs compiled by Eduardo Martínez Torner in 1920; and he followed compositional models deployed by Manuel de Falla in Siete canciones populares españolas (1914). In this article I argue how, by doing so, Orbón engaged in ind…
Performing a Thirteenth-Century Romance: The Roman de Silence
Through a discussion of the author's experience in designing and putting together a solo programme of medieval music based on the thirteenth-century Roman de Silence, this article sets out to explore how concepts and debates that first arose within the Historically Informed Performance (HIP) movement can be expanded beyond matters of style and instrumentation, and into the realm of programming and compiling music to be presented to contemporary a…
Talking Machines in Spanish Commercial Musical Theatre, 1888-1913
In this article, I propose to explore questions around the transformations of talking machines into music machines in a specific national context (Spain), using a somewhat unconventional source: namely, Spanish género chico works (i.e. Spanish-language musical theatre) which feature such devices, in the understanding that these plays, because of the context in which they were produced and consumed, allow us insights into the reception of these te…
Singing and Speaking in Early Twentieth-Century Zarzuela: The Evidence from Early Recordings
The present article draws upon thirty years of recorded evidence (from the first wax cylinders made in the late nineteenth century, to the first electrical recordings of the 1920s and early 1930s) to study two modes of voice production used in Spanish zarzuela: one indebted to operatic singing, characterized by timbral modification and widespread vibrato; and another one more connected to popular forms of entertainment, based on a low-larynx posi…
Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’
This introduction presents and sets the rationale for the special issue ‘Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’. It argues that, while research into music during the Spanish Civil War has enjoyed significant advances in the last fifteen years, concern with the international dimensions of such musical responses remains scarce and circumscribed to prominent classical composers wit…
Musicians’ Migratory Patterns: American–Mexican Border Lands . Ed. by Mauricio Rodríguez
Mauricio Rodríguez’s edited volume Musicians’ Migratory Patterns: American–Mexican Border Lands is a most exciting book in that it splendidly illustrates the potential of a new format in academic publishing that we might tentatively term a short edited collection. Halfway between a special issue and a full-length edited collection, the book is comprised of a short preface, six articles, and no conclusion; we might describe it as a close cousin to…
Reconstructing Zarzuela Performance Practices ca. 1900
This article makes an initial contribution to the largely unexplored field of historical performance practice in zarzuela by examining the earliest surviving recordings of Manuel Fernández Caballero’s Gigantes y cabezudos (1898). One of the greatest successes of the género chico subgenre of zarzuela during the early years of commercial phonography in Spain, it is also the zarzuela of which the most recordings made before 1905 have survived: ninet…
Amateur Recording on the Phonograph in Fin-de-siècle Barcelona: Practices, Repertoires and Performers in the Regordosa-Turull Wax Cylinder Collection
The Regordosa-Turull wax cylinder collection, held at the Biblioteca de Catalunya, Barcelona, is unique among early recording collections. It contains 358 cylinders recorded by the textile industrialist Ruperto Regordosa, mostly at his Barcelona home, featuring prominent Spanish and non-Spanish singers of opera and zarzuela, as well as the composer Isaac Albéniz. This article aims to establish the significance of the collection for the study both…
Why do Orchestral and Band Musicians in Exile Matter? A Case Study from Spain
Even though scholarship on music and exile under Franco has grown steadily for the past three decades, little attention has been paid thus far to exiled performers who were active primarily as members of orchestras and bands. This article makes an initial contribution to this field by focusing on the Banda Madrid as a case study. The Banda Madrid was founded in the spring of 1939 in the internment camp of Le Barcarès (France) by Rafael Oropesa. I…
Outreach, Entertainment, Innovation: Exiled Spanish Composers and European Radio
This essay takes as its starting point the involvement of exiled Spanish composers Salvador Bacarisse and Roberto Gerhard with the public radio broadcasters of the countries to which they were exiled. It examines the music (both incidental and autonomous) they composed and arranged, as well as features on music they wrote, presented or contributed to. In doing so, it articulates a critique of the dominant historiographical narratives that underst…
Travelling phonographs in fin de siècle Spain: Recording technologies and national regeneration in Ruperto Chapí’s El fonógrafo ambulante
Through analysis of the zarzuela El fonógrafo ambulante (1899; music by Ruperto Chapí, libretto by Juan González), this article discusses how the arrival of recording technologies in Spain (1877–1900) was influenced by and in turn influenced discourses concerning modernity, regional difference and interregional mobility. With recent critical accounts of the early history of recording technologies having emerged mostly from the study of technologi…
Discordant Notes: Marginality and Social Control in Madrid, 1850–1930. By Samuel Llano
Late nineteenth- and early twentieth-century Spanish music has received no shortage of attention from scholars (mostly in Spain, but increasingly elsewhere), and this should certainly come as no surprise, since this was a period of crucial developments, transformations, and debates, most of which can be connected to ever-perennial questions of music and national (or regional) identity-building, both within and beyond the country’s borders, as Spa…
Michael Christoforidis, Manuel de Falla and Visions of Spanish Music: London/ New York, Routledge, 2018.
Michael Christoforidis’s Manuel de Falla and Visions of Spanish Music (Routledge, 2018) is a monograph of a kind that we do not find often in English-language academic publishing anymore. It is not single-handedly committed to the advancement of an overarching hypothesis or to ‘telling a story’. It is instead the book of an experienced scholar who offers a series of stand-alone essays (some of which were previously published and are now offered i…
Early Music in Francoist Spain: Higini Angles and the Exiles
In 1942, the priest and musicologist Higini Anglès was appointed director of the Instituto Español de Musicología (IEM) by the newly established Franco regime. As IEM director, Anglès was primarily concerned with Hispanic medieval and Renaissance repertory, and launched a successful series of monuments of Spanish music. Such focus certainly complemented well the government’s celebration of Spain’s imperial past as the foundation of the new regime…
Transatlantic Networks in the Correspondence of Two Exiled Spanish Musicians, Julián Bautista and Adolfo Salazar
Studies of the Spanish Republican exile, both musicological and otherwise, have often worked under the assumption that the exiles were disconnected from Francoist Spain and were thus unable to contribute in any way to the musical life of their home country. This article re-examines these assumptions by analysing a hitherto unexplored corpus of correspondence between two exiled musicians, Julián Bautista and Adolfo Salazar, and other musicians who…
Transatlantic Networks in the Correspondence of Two Exiled Spanish Musicians, Julián Bautista and Adolfo Salazar
Studies of the Spanish Republican exile, both musicological and otherwise, have often worked under the assumption that the exiles were disconnected from Francoist Spain and were thus unable to contribute in any way to the musical life of their home country. This article re-examines these assumptions by analysing a hitherto unexplored corpus of correspondence between two exiled musicians, Julián Bautista and Adolfo Salazar, and other musicians who…
Early Music in Francoist Spain: Higini Angles and the Exiles
In 1942, the priest and musicologist Higini Anglès was appointed director of the Instituto Español de Musicología (IEM) by the newly established Franco regime. As IEM director, Anglès was primarily concerned with Hispanic medieval and Renaissance repertory, and launched a successful series of monuments of Spanish music. Such focus certainly complemented well the government’s celebration of Spain’s imperial past as the foundation of the new regime…
Transatlantic Networks in the Correspondence of Two Exiled Spanish Musicians, Julián Bautista and Adolfo Salazar
Studies of the Spanish Republican exile, both musicological and otherwise, have often worked under the assumption that the exiles were disconnected from Francoist Spain and were thus unable to contribute in any way to the musical life of their home country. This article re-examines these assumptions by analysing a hitherto unexplored corpus of correspondence between two exiled musicians, Julián Bautista and Adolfo Salazar, and other musicians who…
Michael Christoforidis, Manuel de Falla and Visions of Spanish Music: London/ New York, Routledge, 2018.
Michael Christoforidis’s Manuel de Falla and Visions of Spanish Music (Routledge, 2018) is a monograph of a kind that we do not find often in English-language academic publishing anymore. It is not single-handedly committed to the advancement of an overarching hypothesis or to ‘telling a story’. It is instead the book of an experienced scholar who offers a series of stand-alone essays (some of which were previously published and are now offered i…
Outreach, Entertainment, Innovation: Exiled Spanish Composers and European Radio
This essay takes as its starting point the involvement of exiled Spanish composers Salvador Bacarisse and Roberto Gerhard with the public radio broadcasters of the countries to which they were exiled. It examines the music (both incidental and autonomous) they composed and arranged, as well as features on music they wrote, presented or contributed to. In doing so, it articulates a critique of the dominant historiographical narratives that underst…
Travelling phonographs in fin de siècle Spain: Recording technologies and national regeneration in Ruperto Chapí’s El fonógrafo ambulante
Through analysis of the zarzuela El fonógrafo ambulante (1899; music by Ruperto Chapí, libretto by Juan González), this article discusses how the arrival of recording technologies in Spain (1877–1900) was influenced by and in turn influenced discourses concerning modernity, regional difference and interregional mobility. With recent critical accounts of the early history of recording technologies having emerged mostly from the study of technologi…
Discordant Notes: Marginality and Social Control in Madrid, 1850–1930. By Samuel Llano
Late nineteenth- and early twentieth-century Spanish music has received no shortage of attention from scholars (mostly in Spain, but increasingly elsewhere), and this should certainly come as no surprise, since this was a period of crucial developments, transformations, and debates, most of which can be connected to ever-perennial questions of music and national (or regional) identity-building, both within and beyond the country’s borders, as Spa…
Reconstructing Zarzuela Performance Practices ca. 1900
This article makes an initial contribution to the largely unexplored field of historical performance practice in zarzuela by examining the earliest surviving recordings of Manuel Fernández Caballero’s Gigantes y cabezudos (1898). One of the greatest successes of the género chico subgenre of zarzuela during the early years of commercial phonography in Spain, it is also the zarzuela of which the most recordings made before 1905 have survived: ninet…
Amateur Recording on the Phonograph in Fin-de-siècle Barcelona: Practices, Repertoires and Performers in the Regordosa-Turull Wax Cylinder Collection
The Regordosa-Turull wax cylinder collection, held at the Biblioteca de Catalunya, Barcelona, is unique among early recording collections. It contains 358 cylinders recorded by the textile industrialist Ruperto Regordosa, mostly at his Barcelona home, featuring prominent Spanish and non-Spanish singers of opera and zarzuela, as well as the composer Isaac Albéniz. This article aims to establish the significance of the collection for the study both…
Why do Orchestral and Band Musicians in Exile Matter? A Case Study from Spain
Even though scholarship on music and exile under Franco has grown steadily for the past three decades, little attention has been paid thus far to exiled performers who were active primarily as members of orchestras and bands. This article makes an initial contribution to this field by focusing on the Banda Madrid as a case study. The Banda Madrid was founded in the spring of 1939 in the internment camp of Le Barcarès (France) by Rafael Oropesa. I…
Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’
This introduction presents and sets the rationale for the special issue ‘Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’. It argues that, while research into music during the Spanish Civil War has enjoyed significant advances in the last fifteen years, concern with the international dimensions of such musical responses remains scarce and circumscribed to prominent classical composers wit…
Musicians’ Migratory Patterns: American–Mexican Border Lands . Ed. by Mauricio Rodríguez
Mauricio Rodríguez’s edited volume Musicians’ Migratory Patterns: American–Mexican Border Lands is a most exciting book in that it splendidly illustrates the potential of a new format in academic publishing that we might tentatively term a short edited collection. Halfway between a special issue and a full-length edited collection, the book is comprised of a short preface, six articles, and no conclusion; we might describe it as a close cousin to…
Talking Machines in Spanish Commercial Musical Theatre, 1888-1913
In this article, I propose to explore questions around the transformations of talking machines into music machines in a specific national context (Spain), using a somewhat unconventional source: namely, Spanish género chico works (i.e. Spanish-language musical theatre) which feature such devices, in the understanding that these plays, because of the context in which they were produced and consumed, allow us insights into the reception of these te…
Singing and Speaking in Early Twentieth-Century Zarzuela: The Evidence from Early Recordings
The present article draws upon thirty years of recorded evidence (from the first wax cylinders made in the late nineteenth century, to the first electrical recordings of the 1920s and early 1930s) to study two modes of voice production used in Spanish zarzuela: one indebted to operatic singing, characterized by timbral modification and widespread vibrato; and another one more connected to popular forms of entertainment, based on a low-larynx posi…
Exile and Memory in Post-Franco Spain: Julián Orbón's Libro de cantares (1987)
In the song cycle Libro de cantares (1987), Spanish-Cuban composer Julián Orbón (1925–91) entered into a dialogue with the work of two other men who, like him, were displaced under the Franco regime: he re-used Asturian folk songs compiled by Eduardo Martínez Torner in 1920; and he followed compositional models deployed by Manuel de Falla in Siete canciones populares españolas (1914). In this article I argue how, by doing so, Orbón engaged in ind…
Performing a Thirteenth-Century Romance: The Roman de Silence
Through a discussion of the author's experience in designing and putting together a solo programme of medieval music based on the thirteenth-century Roman de Silence, this article sets out to explore how concepts and debates that first arose within the Historically Informed Performance (HIP) movement can be expanded beyond matters of style and instrumentation, and into the realm of programming and compiling music to be presented to contemporary a…
Singing about Singing: Images of Choirs in Aquitanian 'versaria'
Charles Atkinson and Gunilla Iversen, among others, have noted and discussed the increased presence of terms relating to music, singing and sound in Latin-language liturgical or paraliturgical music of the eleventh and twelfth centuries. The Aquitanian versus and Benedicamus trope repertoires provide a prime example, with words such as cantum, carmen, chorus and others recurring frequently. The recent development of scholarly strands (Emma Dillon…
Art (14 works) · History (13 works) · Spanish Literature and Culture Studies (8 works) · Visual arts (8 works) · Archaeology (6 works) · Humanities (6 works) · Sociology (6 works) · Law (5 works) · Literature (5 works) · Musical (5 works)