It invites a re-examination of urban musical life in Modern Europe based on the fecundity of its internal divisions rather than on the basis of a compact unanimity of taste and choice.There is a flip side - for every occupier there is an occupied player. This dissertation demonstrates some of the ways in which it is possible to identify and describe, within a single city, a multitude of approaches to music. Cities within the City), accounts of foreign visitors are compared to those of Maldà in order to shed light on their different and very selective use of the opportunities offered by an urban musical culture. Music and Musicians between the City and its Hinterland) deals with regional festive and musical calendar, musicians’ mobilities and musical practices connected with the seasonal excursions of Barcelonans. The first part of this study (“The Tone of Sarrià”.
Other local sources, as well as the contemporaneous accounts of foreign travellers in Catalonia, complement Maldà’s descriptions of musical spaces. The wealth of detail furnished by the long journal (1769-1819) of Rafel d’Amat, baron of Maldà, an enthusiastic music-lover, makes it possible to outline the contours of his musical experiences, both within and outside the city. In this study, I analyse musical life beyond the walls of the city, toward the urban hinterland, as well as, within the city, in the reduced geographic spaces of neighbourhoods and parishes. But focusing on the musical experiences of specific individuals implies encompassing other dimensions of urban life. Current developments in urban history have shifted from viewing the city to be an organic totality to considering it a physical frame permitting a multiplicity of individual experiences. The relationship between music and urban space has been a growing issue in the field of historical musicology since the 1980s. Sur la frontière espagnole, les diocèses des Pyrénées centrales témoignent du décalage grandissant, aux XVIIe et XVIIIe siècles, avec une religiosité "hispanique" qui, elle, n'a pas connu l'iconoclasme huguenot, et qui exalte, jusqu'au-delà des mers, les images saintes touchées, habillées, processionnées. Le tableau, fixe, est alors imposé contre la statue mobile, au sein du terroir. Tout en réaffirmant l'usage des images sacrées, comme le demande le concile de Trente, elle n'intègre pas moins la méfiance calviniste à l'égard de l'icône/idole, en luttant contre les manipulations de la statuaire. C'est alors la Réforme catholique qui, au premier XVIIe siècle, va transformer profondément le décor des églises montagnardes. Leur piémont a été dévasté, mais le haut pays, attaché au catholicisme, a su se prémunir de la soldatesque, en structurant sa défense autour de ses églises, au sein de solidarités qui outrepassent la frontière. En effet, si le Sud-Ouest de la France a subi l'iconoclasme huguenot des guerres de Religion (1560-1598), les diocèses pyrénéens révèlent une dissymétrie dans les ravages.
On s'étonne de la persistance d'une importante statuaire de bois, médiévales et de la première modernité, dans les églises montagnardes des anciens diocèses de Comminges et de Tarbes.
On the Spanish border, the dioceses of the central Pyrenees testify to the growing discrepancy, in the 17th and 18th centuries, with a "Hispanic" religiosity which did not experience Huguenot iconoclasm, and which exalts, even beyond of the seas, the holy images touched, dressed, paraded. The table, fixed, is then imposed against the mobile statue, within the soil. While reaffirming the use of sacred images, as requested by the Council of Trent, it nonetheless integrates the Calvinist distrust of the icon/idol, by fighting against the manipulations of statuary. It was then the Catholic Reformation which, in the first 17th century, profoundly transformed the decor of mountain churches.
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Their foothills were devastated, but the high country, attached to Catholicism, knew how to protect itself from the soldiery, by structuring its defense around its churches, within solidarities which crossed the border. Indeed, if the South-West of France suffered the Huguenot iconoclasm of the Wars of Religion (1560-1598), the Pyrenean dioceses reveal an asymmetry in the ravages. We are surprised by the persistence of important wooden statuary, medieval and early modern, in the mountain churches of the former dioceses of Comminges and Tarbes.
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