According to PICKTRUE.COM, the most ancient documents of Spanish musical history refer to prehistoric times, and precisely to the cave paintings of the Quaternary period, to the Greek colonies (600 BC), the Iberian people (4th century BC) and finally to the ‘Roman times. To talk about the repertoire still preserved today we have to go back to the century. VI d. C. During the sixth and seventh centuries three musical centers especially flourished: on the one hand Seville with Spain Leandro (died in 599) composer, and Spain Isidoro (died in 636), the encyclopedic musical treatiser of his period. In the center, the school of Toledo with Spain Eugenio (died in 657), Spain Ildefonso (died in 667), Spain Giuliano (died in 690) and with the bishop Conancio of Palencia (died in 639). In the’ another extreme is the school of Zaragoza founded by Giovanni (who died in 631) and continued by his brother and successor Braulio (who died in 651). The Visigothic chant, magnificent creation of Christian Spain of the sixth and seventh centuries, known song, from the century. VIII onwards, also with the name of “Mozarabic”, was practiced in Spain up to the century. XI. Its repertoire is preserved in a large number of neumatic codices copied during the 10th and 11th centuries, the notation of which has not yet been able to decipher. There whose notation could not yet be deciphered. There whose notation could not yet be deciphered. There Lex romana (song and liturgy) was introduced in Catalonia already in Carolingian times; in Aragon and Castile, however, it did not take over from the Lex toletana before 1071. It was for this reason that, while Catalonia had invented its own special neumatic notation, which it used together with the Aquitan notation as early as the 10th century. IX, in Castile the Aquitan notation was simply adopted until the second half of the century. XI.
With the advent of the Arabs in Spain at the beginning of the century. VIII, the palace of the Umayyads of Cordoba immediately turned into a faithful reflection of the musical art of Damascus. Thus at the time of Muslim Spain Arab music spread throughout the peninsula and especially at the time of Almanzor (al-Manṣūr: 10th century). We know the names of various secular music composers of the 10th and 11th centuries; however, it must be said that no one has handed down even a single file of Arab music from those centuries, such as to allow us to judge the music of the Arabs of Spain. Nevertheless, it is well-proven news that many musical instruments derived from the East were introduced in Europe thanks to the musical practice of the Spanish Arabs. The Latin musical lyric of the profane genre preserved in Spain goes back to the century. VII. This heritage remains noted with indecipherable Visigothic notation in the ms code. 10029 (9th-10th century) of the National Library of Madrid. The practice of religious musical lyrics of hymns, tropes, offices, sequences and liturgical dramas, not known, except hymns, in the Mozarabic liturgy, was practiced in Catalonia as early as the 9th-10th centuries. Thanks to the close relationship that the great monasteries of Spain Maria di Ripoll and Spain Miquel de Cuixá maintained with the liturgical-musical culture of Moissac and Saint-Martial of Limoges and with other monasteries of southern France, this repertoire, in part French and Italian, partly indigenous, was followed by the monasteries of Spain Juan de la Peña in Aragon and Spain Millán de la Cogolla in Rioja, in the 11th century. XI. IX-X) of the National Library of Madrid. The practice of religious musical lyrics of hymns, tropes, offices, sequences and liturgical dramas, not known, except hymns, in the Mozarabic liturgy, was practiced in Catalonia as early as the 9th-10th centuries. Thanks to the close relationship that the great monasteries of Spain Maria di Ripoll and Spain Miquel de Cuixá maintained with the liturgical-musical culture of Moissac and Saint-Martial of Limoges and with other monasteries of southern France, this repertoire, in part French and Italian, partly indigenous, was followed by the monasteries of Spain Juan de la Peña in Aragon and Spain Millán de la Cogolla in Rioja, in the 11th century. XI. IX-X) of the National Library of Madrid. The practice of religious musical lyrics of hymns, tropes, offices, sequences and liturgical dramas, not known, except hymns, in the Mozarabic liturgy, was practiced in Catalonia as early as the 9th-10th centuries. Thanks to the close relationship that the great monasteries of Spain Maria di Ripoll and Spain Miquel de Cuixá maintained with the liturgical-musical culture of Moissac and Saint-Martial of Limoges and with other monasteries of southern France, this repertoire, in part French and Italian, partly indigenous, was followed by the monasteries of Spain Juan de la Peña in Aragon and Spain Millán de la Cogolla in Rioja, in the 11th century. XI. it was practiced in Catalonia as early as the IX-X centuries. Thanks to the close relationship that the great monasteries of Spain Maria di Ripoll and Spain Miquel de Cuixá maintained with the liturgical-musical culture of Moissac and Saint-Martial of Limoges and with other monasteries of southern France, this repertoire, in part French and Italian, partly indigenous, was followed by the monasteries of Spain Juan de la Peña in Aragon and Spain Millán de la Cogolla in Rioja, in the 11th century. XI. it was practiced in Catalonia as early as the IX-X centuries. Thanks to the close relationship that the great monasteries of Spain Maria di Ripoll and Spain Miquel de Cuixá maintained with the liturgical-musical culture of Moissac and Saint-Martial of Limoges and with other monasteries of southern France, this repertoire, in part French and Italian, partly indigenous, was followed by the monasteries of Spain Juan de la Peña in Aragon and Spain Millán de la Cogolla in Rioja, in the 11th century. XI. Millán de la Cogolla in Rioja, in the 9th century XI. Millán de la Cogolla in Rioja, in the 9th century XI.
