Loco, trovador y cortesano. Bases materiales de la expresión musical en Cervantes

This book aims to clear and analyze the historical, artistic and ideological context in which complex relationships between musical and literary phenomenon were conceived by Cervantes, who arranged in his works a sort of intentionally hidden musical meanings. Its pages reflect on the echoes of the troubadour compositions in the voice of Don Quixote, and seek the reconstruction of the historical and social assumptions that governed the Cervantes’ works, recovering his life experiences, in order to determine the extent of possible scope and origin of his technical knowledge of the musical phenomenon that he continually uses and describes in his works . The paremiological contexts and social archetypes, the role of the musician, the relevance of the emblematical literature in shaping the musical episodes, the textual relationships established by his works, introducing musical compositions set in music by contemporaneous composers; the description of the locus amoenus or other musical links provided not only by the catholic liturgy but by other poems borrowed from his admired poets such Garcilaso, Herrera, Boscan and Petrarch –poems that were sung in his time-, provide us an historical and relevant facts to the study of musical phenomenon in Cervantes’ works.