Craig Henry Russell, Ph.D. 1981

Advisor: James W. Pruett

Dissertation Title: Santiago de Murcia: Spanish Theorist and Guitarist of the Early Eighteenth Century

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Dissertation Abstract:

The Resumen de acompañar la parte con la guitarra (Antwerp, 1714) and the “Passacalles y obras (1732)” by Santiago de Murcia mark the apogee of the baroque guitar in Spain. The basso continuo treatise in the Resumen is one of the most important theoretical works for the baroque guitar; it provides insights, as well, into the status of music theory in early eighteenth-century Spain. Murcia’s pasacalles, diferencia pieces, and preludes show him to be an excellent composer capable of controlling large formal structures. The bulk of the compositions in Murcia’s books are not his own, however, but compositions borrowed from his French contemporaries. Until now, little has been known of Murcia’s life except that he was the Guitar Master to Maria Luisa Gabriela of Savoy, the Queen of Spain. In this work, a plausible biography is formulated, drawing upon primary source material in Spanish archives. It is probable that Murcia was a student of Francisco Gueráu as a choirboy in the Royal Chapel and Royal College. Evidence is presented suggesting that Santiago de Murcia was the son of Gabriel de Murcia and Juana de León, both of whom were vihuelists and employed in the Royal Chapel. His patrons are identified with respect to biographical dates, diplomatic duties, and military honors.

Murcia’s views on theoretical matters are compared with other theoretical writings of the time. In addition to continuo realizations, suspensions, and cadences, Murcia devotes considerable time to several curiosities: the different clefs and the transpositions they imply; mensuration symbols of the “modern foreign style” and the “old Spanish style”; the use of coloration and white mensural notation; and the active use of the eight modes and their cadential formulas. Due to Murcia’s importance in the history of the baroque guitar and Spanish music, a critical edition of his complete works is found in volume 2 of this dissertation. Included are the original Spanish with an English translation of Murcia’s continuo treatise and a modern transcription of the musical works. The original tablature notation, replete with Murcia’s left-hand fingerings and ornamentation, is placed above all musical transcriptions. Corrections and editorial suggestions are found in the critical notes at the end.

Dr. Russell became a professor of music at California Polytechnic State University (Cal Poly) in 1982. His research has focused on transnational Spanish and American music, including in a book on music in Spanish California missions; his teaching has also emphasized popular music styles, including many from Latin America. You can access his faculty page here.