Abstract:

This essay is a reflection on the performance of the villancico de negro in an early modern Ibero-American context as well as on the musical subgenre's contested meaning in present-day concert programs. The first part examines the coro, a privileged space within a viceregal cathedral where ecclesiastical ritual devotion enacted a collective sensorial experience. This was a site where male choristers embodied the performance of villancicos through voice, taking on stock theatrical characters on the margins of empire. The second part explores the villancico de negro "Vengan, que lo plegona la negla," scored for two tiple singers and instrumental accompaniment, which is preserved in a manuscript dated 1704 from the archive of the Bogotá Cathedral. Here, I offer a close reading of the text's construction of Black women's voices and bodies as they participate in the narration and action of a Christmas play. The final section briefly looks at the discourses of silencing in the performance of villancicos de negro in the United States today. This reflection is informed by my experience as a scholar and performer of early modern Iberian and Ibero-American repertoires.

 抽象的：

本文反思了早期现代伊比利亚-美洲语境中黑人别墅的表演，以及音乐亚流派在当今音乐会节目中的有争议的意义。第一部分考察了科罗（coro），这是总督大教堂内的一个特权空间，教会的虔诚仪式在这里上演了集体感官体验。在这里，男性唱诗班成员通过声音体现维拉尼科斯的表演，扮演帝国边缘的戏剧人物。第二部分探讨了为两位顶尖歌手和器乐伴奏而创作的黑人别墅“Vengan, que lo plegona la negla”，该作品保存在波哥大大教堂档案馆 1704 年的手稿中。在这里，我仔细阅读了文本对黑人女性参与圣诞戏剧的叙述和动作时的声音和身体的构建。最后一节简要回顾了当今美国黑人黑人表演中的沉默话语。这种反思源于我作为早期现代伊比利亚和伊比利亚美洲剧目的学者和表演者的经历。