muslims, jews and christians in medieval muslim seville - Scholars

129 Pages·2009·3.34 MB·English

MUSLIMS, JEWS AND CHRISTIANS IN MEDIEVAL MUSLIM SEVILLE:
(711-1248 CE)
PERCEIVING ARTISTIC EXPRESSIONS AS SIGNS OF ACCULTURATION
LAURA ELAINE VAUGHAN
A THESIS
Presented to the School ofMusic
andthe Honors College ofthe UniversityofOregon
inpartial fulfillment oftherequirements
for the degree ofBachelorofMusic Performance
June 2006
11
An Abstract ofthe Thesis of
Laura Elaine Vaughan for the degree ofBachelorofMusic Perfonnance
in the School ofMusic to betaken June 2006
Title: MUSLIMS, JEWS AND CHRISTIANS IN MEDIEVAL MUSLIM SEVILLE:
(711-1248 CE)
PERCEIVING ARTISTIC EXPRESSIONS AS SIGNS OF ACCULTURATION
Approved:
ProfessorAllie Dhu McLucas
In the past few centuries, scholarshave begunto reevaluate the Euro-centrism ofwestem
history. Spain in the Middle Ages presents fertile research groundbecause it was ruled
under Muslims for sevenhundred years. Musicologists still debate as to whetherthe
famous manuscript, Las Cantigas de Santa Maria, contains any Arabic musical influence.
This thesis enlarges the scope ofthis debatebeyond the musical manuscript. This study
centers on Seville, where Alfonso X commissionedthe Cantigas, in orderto better
understand the cultural relationships within the city at the time ofthe Cantigas' creation.
Ilook at five art fonns that were either created in Seville orhad strongties withthis city:
the illustrations, poetry, and music ofthe Cantigas, atreatise on chess commissionedby
Alfonso, and the architectureofSeville. This thesis does not prove anynew theory.
Instead, I focus on finding anew approach to discovering amore conclusive answer
regardingArabicmusical influence inLas Cantigas de Santa Maria. Through this
comparative analysis, I seek to accurately gauge thepossibilityofArabic musical
influence withinLasCantigas de Santa Maria.
III
Table ofContents
1. Introduction p. 1
11. Review ofLiterature p. 7
I. Historical Background ofMedieval Andalusia, or al-
Andalus p. 13
II. Seville's (Islamic Ishbiliya) History
under therule ofthe Moors p. 26
III. Architecture ofSeville p. 36
IV. Seville in the Time ofAlfonso X p. 46
V. Short History ofthe Music ofal-Andalus p. 60
VI. Las Cantigas de Santa Maria p. 70
A. The Manuscript. p. 70
B. The Illuminations p. 74
C. Music and Text. p. 80
1. Form p. 80
11. TheMelodic Notation and Rhythmic Modes ofthe
Cantigas p. 86
D. Problems TranscribingLas Cantigas de Santa Maria p. 89
E. Performancepractice ofLas Cantigas de Santa Maria p. 94
F. My Approach to PerfomlancePractice ofthe Cantigas p. 97
VII. The Linkbetween the Cantigas and the
Nawba ofthe Maghrib p. 109
VIII. Conclusion p. 115
IX. Appendix l. CD Tracks and Translation ofText.. p. 119
X. Selected Bibliography p. 121
IV
Illustrations and Figures
Illustration I...Map ofThe Islamic World in the Seventh through Tenth Centuries...p. 15
Illustration 2 Map ofAl-Andalus, 1009 to 1248, From the TaifaKingdoms to the Fall
ofthe Almohads p. 23
Illustration 3 Map ofSeville, San Bartolome p. 29
Illustration 4.... Image ofLa Alhambra, Patio de los Arrayanes (Court ofthe Myrtles)
Photographtaken byauthor. p. 35
Illustration 5 Cathedral ofSevilleand the Giralda minaret; Photograph takenby
author p. 38
Illustration 6... Three Images ofMinarets in Modem Seville: (top) Seville Parish
Churches Santa Catalina and San Gil; (bottom) Seville Parish Church ofSantaMarina
Top two photographs takenbyMargaret Kaluzny, bottom byauthor. p. 39
Illustration 7 View ofCathedral ofSeville from Plane p. 42
Illustration 8... Patio de las Munecas, AlcazarofSeville, photo takenbyauthor......p. 44
Illustration 9, 10, 11, 12,13, 14....Six Images from El Tratado delAjedrez, (The Book of
Chess) showing cultural relationships p. 56-7
Illustration 15 Scanned Image ofCantiga 167 from the 'Codex ofMusicians'
manuscript p. 70
Illumination 16 Illustration from the 'Codex ofMusicians' manuscript, found next to
the Prologue p. 74
Illumination 17...Illuminations from the 'Codex ofMusicians' manuscript, found next to
Cantigas 170 and 270...p. 78
Illumination 18... Illuminations from the 'Codex ofMusicians' manuscript, found next to
Cantigas 300 and 120 '" p. 79
Figure 1.. Graph oftheRhyme Scheme and Musical Phrases ofthe Cantigas p. 81
Figure 2 , Written-Out Form ofmuwashshah, zajal, and cantigas p. 84
Music Excerpt 1 Cantiga 103, Angles Transcription p. 91
Music Excerpt 2 Cantiga 280, Cunningham Transcription p. 92
v
Music Excerpt 3 Cantiga 190, Angles TranscIiption p. 103
Music Excerpt4 Cantiga 100, Angles Transcliption p. 103
Music Excerpt 5 Cantiga 103, Angles Transcliption p. 105
Music Excerpt6 Cantiga 165, Angles Transcliption p. 106
Music Excerpt7 Cantiga 167, Angles TranscIiption p. 107
Music Excerpt 8 Cantiga 189, Angles TranscIiption p. 108
i. Introduction
Spanishhistorians have repeatedlyrefuted the ideathat Spain has been influenced
byArabic peoples. The Inquisitionlasted for such along peliod oftime thatthe ideaof
tolerance and cultural interchange thathad existed in Muslim Spainbecame aghost ofthe
past. While othercountIies' historians wereputtingdown thehistoryoftheirnations'
past, Spain was caught in apolitical atmosphere that did not allow for the freedom to
lookback centuries at the truth that pointedto therealityofseveral religions living,
ruling, and influencing each otherinone area. Theprestigious twentieth-century
historian, Sanchez-Albomoz, exclaims:
"Without Islam, who can guess what ourdestiny might have been? Without
Islam, Spainwould have followed the samepaths as France, Germanyand
England; and tojudge from what we have achieved overthe centuries in spite
ofIslam, perhaps we would have marched at theirhead."l
Americo Castro was one ofthe first scholars inthe twentieth centuryto lookback
into Spain's past in away thatignored the preconceptions forced upon the Spanishpeople
as awhole. Published and translated, Castro'sbook setthe stage for scholars ofthe
twentieth centuryto rediscoverthe truth ofmedieval Spain and the influences thatmake
itwhatitis today.2 Spainhas possessed, within bothits political and popularculture, a
view ofitselfthatrejects the conceptthat the Spanishpeoplewere everanything other
than Spanish. Despitethe fact that Celts, Visigoths, Romans, Muslims and Jews lived
upon the Iberian Peninsula, many SpanishhistOlical documents repudiate the ideathat
thesepeoples had any influence overthepure 'Spanish' population. In The Spaniards,
I AsquotedinMariaRosaMenocal, TheArabicRoleinMedievalLiterGlYHistory: A ForgottenHeritage
(Philadelphia:UniversityofPennsylvaniaPress, 1987), II.
(translatedbyMonroe 1970: 257)
2AmericoCastro, TheSpaniards:AnIntroduction to TheirHistOf)!. (Berkeley: UniversityofCalifomia
Press, 1971)
2
Castro traces the Oligins ofespaiiolas a tenn that came from Provencein the thilieenth
century. Beforethe thirteenth century, the Christians on the Ibelian Peninsulahad no
collective identity and refen-ed to themselves as cristianos. The lbelianPeninsulahad
beennamed Hispaniabythe Romans. TheFrench thus called them espaiioles. As the
native Iberians achieved more successes as aunited front against the Muslims, a national
identitybeganto emerge and theybeganto apply the tenn espaiioles to themselves.3
Therefore, itwas onlyoncethe Muslim population arrived that anational identitywas
created. In light ofthis infonnation, the idea ofapure 'Spanish' population that has
always existed seems unlikely.
This thesis was inspired bymyintroduction to the culture ofAndalusiain June
2005. Themystelies that sun-OlInd its pastare as complicated as the streets that wind
through the Arab districts in cities like Granada or Seville. However, the complexityof
its past is beginningto beunearthed. Is this quest beingdone in orderto show the world
that various peoples can livetogetherin peace and hannony? Itis possibleto arguethis,
in afashion. However, it cannotbe ignoredthat the Muslims, Jews, and Christians who
livedin al-Andalus were continuouslywaning againstone anotherand striving for each
other's power. A striking fact is that, in al-Andalus, Muslims and Christians were not
necessmily always fighting each other-Muslim and Christian leaders would create
alliances to defeat mutual enemies; religion did not always dictate who was fiiend orfoe.
Peace and hannonyare subjectivetelms. Itcanbe argued that toleration ofanother
culture in one's own cityas opposed to genocide and expulsion is amuchmore favorable
option. Muslim Spain seems to represent a grey area that cannot as yet, be defined as
simplypeaceful or chaotic. The cultures were coexisting, thoughthe level oftolerance
3Castro, TheSpaniards:AnIntroduction to TheirHistory, 11.
r
3
and acceptance would change depending onvarious factors, especiallythe ruler orruling
culture. Somehow the atmosphere ofMuslim Spain allowed various cultures to live
together for centuries in the same cities without genocide orterrible oppression. What
gave them this abilityis one ofthe secrets that will onlybe able to beunderstood with
time and research.
In this thesis, Iintend to explorethe relations between the three different cultures
in al-Andalus through analyzing various forms ofartistic expression ofthe thilieenth
century. Forthe purposes ofthis thesis, Iwill focus mostlyupon the relationship between
the dominant cultures, Cluistian and Muslim, withless emphasis onthe role ofthe Jewish
population. In particular, I will be particularly addressing the works ofSeville extant and
created duringthe time ofAlfonso X. Alfonso X came into Seville after his father
conquered it in 1248; he adopted various structures as Christian centers, such as the Great
Mosque in Seville. This adoption ofarchitectural structures as well as commissioning
Mudejars4 to build new buildings in an obviously 'Arabic' style occurred throughout
Andalusiaafterthe Reconquista. Christian communitieshad, beforethe Reconquistahad
turned decidedlyin their favorS, attempted to avoid the Islamic arts in al-Andalus. Once
most ofthe IberianPeninsula was in Christianhands, their admiration for the
craftsmanship and skill ofthe Islamic artisans beganto show. Mudejar craftsmen were
employed for a long enough period that the craftwas no longerboundbyculturalbarriers
and Christian and Jews knew the skills ofthe Mudejartrade. In this thesis, not onlywill
4MudejarswerecraftsmenwhokeptthetraditionsofMuslimartisansaliveundertherule oftheChristians.
AlargepopulationofMudejars livedinGranadaduringtheNasridrule. AftertheReconquista,theposition
ofaMudejarwasoneofthemostfeasiblepositionsforaMuslimpersontobehiredandsubsistinthenew
Christian-dominatedculture.
SFerdinandTIlwas thelastimportantconquerorofMuslimlandsinMuslimSpain. Cordoba,Jaen,and
Sevilleareamonghisgreattriumphs. Sevillewasconqueredin1248.
,
4
the architectureofSevillebe studied, but two works commissioned byAlfonso X. The
first work I will present is a treatise entitled EI Tratado de Ajedrez(1283), atreatise on
chess commissioned (and possiblydirected by) Alfonso X. In this treatise, each folio of
the treatise contains an illustration describingthe particularsituation in chess-these also
testify to the cross-cultural relations that existed within the court ofAlfonso X. The
second work, and the form ofartistic expression that Iwill focus upon in this thesis, is
Las Cantigas de Santa Maria. The Cantigas is composed ofillustrations, text, and music.
This compilationpresents an amalgamation ofvarious miistic styles and therefore cantell
us about the societyin which it was created much betterthanjust a single excerpt ofa
musical manuscript or single work ofliterature. It is an excellentresource to answerour
question about whetherinfluencewas imparted from one culture to another, particularly
ifArabic culture can be seen to have influencedthe Christian Spanish culture.6 Alfonso X
looked to Las Cantigas de Santa Maria, in large part, for salvation. Themanuscript was
intended to contain 100 Cantigas-as death nem'ed and the illness that wracked Alfonso's
mind progressed, it grew to the much greaternumberof420. The Cantigas and Alfonso
are connectedto Seville due to the fact that Alfonso died in Seville, he asked for the
Cantigas to be played in the Seville mosque-cathedral everyMarian holiday, the citywas
one ofthe most important locations his fatherhad conquered and that Alfonso then
inherited the responsibility ofrepopulating, as well as other connections that will be
elaboratedupon later in this thesis.
6Despitethe fact thatIamveryinterestedinthe ideaoftheArabic culturehaving influencedwestern
medievalsociety, Idonotwantthereaderto thinkthatthis is the onlypurposeofmythesis. Iamsearching
tounderstandtherelationshipbetweencultures, and thismeans thattheinfluencecouldgofrom Muslimto
Christian,viceversa,fromJewishto ChristianortoMuslims, etc.
5
I follow the school ofthoughtthat music is aresultofthe times and society
within which it is created. Therefore, my thesis will present an approach that combined
the analysis ofmusic as well as the possible social, economic, orpolitical influences that
existed at this time. Thepresentation ofa historical background ofMuslim Spain,
Almohad Seville, and the Seville ofAlfonso X are necessary sections for readers who
have not been exposed to the rich history ofmedieval Spain. Ihave read many musical
articles concerningthe topic ofthe Cantigas and the possibility ofArabic influence-all
writers have given some historical background as a foundation to understand the
complexityofAndalusian societyin which the music and poetry were composed. The
other forms ofartistic expression Iwill present-architecture, various genres ofpoetry,
illustrations, and a treatise on chess are all forms thathave been accepted within their
fields as demonstrating Arabic influence within a European context.
Musicologists are still struggling to arrive ata conclusion as to whether the
Cantigas reveal the same cultural mixingas these other forms. The Cantigas manuscript
provides a very rough sketch ofhow theymight actuallybeperformed; it is impossible,
inmyopinion, to make a solid conclusion concerningthebackground ofthe Cantigas
solelybasedupon the music writtendown in the manuscript. Sincewe CaImot exactly
replicate theperformance, Iagree with the philosophythat we should look to the culture
withinwhich this musicwas created. In mysections coveringthe historyofAndalusia
and the two eras, that ofthe Almohads andAlfonso X, Ihave chosen specific details of
the cultures existingthere and their interactions to in orderto showhow closely
interrelated Christian, Muslim, and Jewish lives were inmedieval Andalusia. Bybringing
forth examples ofartistic expression created in this society, and the accepted facts that