Abstract:

Sung inside and beyond the confines of cathedrals during the principal religious celebrations, the musical-poetic genre of the villancico took on a special vibrancy in the viceregal city of Santafé (today, Bogotá, Colombia) from the later sixteenth century onward. The singers themselves not only played (sung) the roles of angels and shepherds, but also of others, often adapted from stock comic characters, such as the "Negro" or "Negra" (Black man or woman), found in the widely popular short comic dramas of the Spanish-speaking world. This article studies the manuscript evidence of how the villancicos composed, sung, and performed in the Bogotá Cathedral attest to the contribution of the "black voices" that were heard in this viceregal metropolis, to be embodied in these pieces. I provide transcriptions and analysis of the poems, and even theatrical scripts, found in the musical scores of a corpus of "villancicos de nacimiento" preserved in the Archive of Bogotá's Cathedral. In turn, these musical-poetic works open a window through which to better understand devotional and festive practices in a stratified colonial society and, in so doing, can give us also a picture of performance practices developed by largely unheralded and mostly anonymous Black performers of the territory of New Granada (which coincides with present-day Panamá, Colombia, Venezuela, and Ecuador), which was administered through the Viceroyalty of Peru until 1717.

 抽象的：

在主要的宗教庆典期间，维拉尼科音乐诗体在大教堂内外传唱，自 16 世纪后期起，在总督府圣塔菲（今哥伦比亚波哥大）城市中呈现出特殊的活力。歌手本身不仅扮演（演唱）天使和牧羊人的角色，还扮演其他角色，这些角色通常改编自普通的漫画人物，例如广泛流行的喜剧中的“Negro”或“Negra”（黑人男人或女人）。西班牙语世界的短喜剧。本文研究了维拉尼科斯如何在波哥大大教堂创作、演唱和表演的手稿证据，证明了在这座总督大都市中听到的“黑人声音”的贡献，体现在这些作品中。我提供了对波哥大大教堂档案馆保存的“villancicos de nacimiento”语料库乐谱中的诗歌甚至戏剧剧本的转录和分析。反过来，这些音乐诗歌作品打开了一扇窗，通过它可以更好地理解分层殖民社会中的虔诚和节日习俗，并通过这样做，也可以让我们了解由基本上不为人所知且大多是匿名的黑人表演者开发的表演实践。新格拉纳达的领土（与现在的巴拿马、哥伦比亚、委内瑞拉和厄瓜多尔重合），一直由秘鲁总督辖区管理，直至 1717 年。