FRAY TORIBIO DE MOTOLINIA
(1482?-1568)
was one of the most important “ethnographic” chroniclers of Mexican
society predating the Conquest, and he was the foremost exponent of
the millenarian ambitions of his order in the early years of Mesoamerican
evangelization.
Fray Toribio, a Franciscan who came with the pioneer missionary group of twelve,
arrived in Mexico in 1524.
"The Indians, seeing his miserable habit and noting that he walked barefoot,
called him mottling meaning poor.
This word was the first one that he learned and he henceforth adopted it as his own."
Like Bartolome de Las Casas who lived to be ninety-two,
Pedro de Gante who lived to be ninety,
and Sahagun who also lived to be ninety,
Motolinia lived to a great age.
His two principal works still extant were written in middle life.
HISTORIA DE LOS INDIOS DE LA NUEVA ESPANA
written 1541 not published until 1858
https://archive.org/stream/historiadelosind00moto#page/n5/mode/2up
and
THE MEMORIALES
written between 1556 and 1560
https://archive.org/stream/memorialesdefra00sngoog#page/n9/mode/2up
(less easily dated, but presumably written about the same epoch in Motolinfa's life)
both remained unpublished until 1858 and 1903 respectively both, however,
circulated widely in manuscript.
Nearly everything Torquemada said on aboriginal music was copied either directly
from Motolinia, or from Mendieta
(who copied Motolinia's description of pre-Conquest music)
Motolinia's early arrival assures authenticity.
Motolinia hated the Spaniard overlords almost as much as did the
crusading Las Casas at one time Motolinia was even accused of petition-
ing for the recall of all Spaniards from Mexico (except the clergy) be-
cause the bad example and conduct of the laity impeded the work of
conversion.
He undoubtedly favored the same exclusion of traders and
encomenderos that the Jesuits later favored (and successfully enforced)
in the famous Paraguay reductions.
In the following extract, which combines passages selected from
Chapters 26 and 27 in Part II of the Memoriales, Motolinia offers his
description of pre-Conquest music he tells
- how music functioned in Aztec life
- what kinds of instruments they used,
- how the Aztecs rehearsed their songs and dance music
- how it was rendered in actual performance,
- how musicians were evaluated in Aztec society,
- and why composers enjoyed special prestige.
"One of the commonest occurrences in this country were the festivals of
song and dance, which were organized not only for the delight of the
inhabitants themselves, but more especially to honor their gods, whom
they thought well pleased by such service.
Because they took their festivals with extreme seriousness and set great store by them,
it was the custom in each town for the nobility to maintain in their own houses singing-
masters some of whom [not only sang the traditional songs, but] also
composed new songs and dances.
Composers skilled in fashioning songs and ballads were held in high
repute and were everywhere in great demand. Among singers those who
possessed deep bass voices were the ones most sought after because it was
customary to pitch the songs all extremely low at the frequent private
ritual observances held inside the houses of the principal nobility.
Singing and dancing were nearly always prominent features in the
public fiestas which occurred every twenty days .....
The big fiestas were held outdoors in the plazas, but the less important ones
either in the private patios of the nobility or indoors in the houses of the nobles.
When a battle victory was celebrated, or when a new member of the
nobility was created, or when a chieftain married, or when some other
striking event occurred, the singing-masters composed new songs especially
for the occasion.
These singing-masters also sang, of course, the old songs
appropriate for the various observances in honor of their gods,
or in celebration of historical exploits, or in praise of their deceased chieftains.
The singers always decided what they were going to sing several days
beforehand and practiced diligently on their songs. In the large towns
(where there was always an abundance of good singers) those who were
to participate in a particular fiesta got together for rehearsal well in ad-
vance, especially if there were a new song or dance to be performed, so
that on the day of the fiesta all might go off with smoothness and pro-
priety.
The day of the fiesta a large mat was spread in the middle of the plaza,
and on this mat they placed their drums [teponaztlis and huehuetls] . The
musicians all gathered at the house of the chieftain and there dressed them-
selves for the fiesta. They came out of the lord's house singing and dancing.
Sometimes they started their dances in the early morning and other times
at the hour we celebrate high mass. At nightfall they re-entered the chief-
tain's house and there ended their singing either soon after dark, or oc-
casionally at a much later hour, sometimes even at midnight [depending
on the importance of the fiesta they were celebrating] .
The two types of drum were:
one, a tall round drum, bigger around than a man's body, and between three and
four feet high. It was made of excellent wood, and carefully hollowed out inside.
The exterior of the drum was painted; over the top of it was stretched a cured deerskin
[or other animal skin]. By tightening or loosening a particular skin, the pitch could be
raised or lowered within the limits of a fifth. The players changed its pitch with the
changing pitch of the singers. The other drum cannot adequately be described in
words without a picture at hand to show its appearance [teponaztli].
This other drum served as a deep counterbass; both had a fine sound
which carried a great distance.
While the dancers were getting in position the players got ready to
strike their drums.
Two of the best singers acted as song leaders and gave the
singers their pitch when they were ready to start.
The large drum with the animal drumskin was played with the bare hands;
but the other (teponaztli) (like the drums in Spain) was played with sticks.
The sticks had, however, a different shape from those used in Spain.
When they were ready to begin the dance three or four sounded some
shrill music on their whistles, which was the signal to begin. Then the
drumming began in a low, muffled tone, gradually increasing in volume.
Hearing the sound of the drums at the beginning of the dance, the dancers
[took the pitch of their song from the sound of the drums, and then] **
started singing.
The first songs were pitched low, sounding as if everything
had been transposed down. Moreover the tempo was slow.
The first song had to do with the particular occasion of the fiesta.
Two leaders (as we already said) always began the singing, and the
entire chorus following their lead then joined in singing and dancing.
The whole crowd often united in a dance routine that would challenge
the skill of the very best dancers in Spain.
More remarkable yet was the feet that not only their feet, but the en-
tire body, head, arms, and hands, moved together in their dances. . . .
Following their leaders in the singing and drumming, everyone changed
position at the same instant, and with such precision that the best Spanish
dancers marveled upon seeing them in action, and greatly admired the
dances of these people. . . .
The dancers in the outside ring adopted a beat twice as fast as those who danced in the
inside ring; this was done so that both outside and inside circles might stay
together. . . . Those in the inner circle, perfectly coordinating their movements, shifted
their feet and bodies more slowly than those in the outside circle, but it was mar-
vellous to see with what graceful dignity they moved their arms
Each verse or couplet was repeated three or four times.
The whole ensemble of singing and playing not only was kept in tune, but the dancing
rigorously followed the beat of the music. . . . Upon finishing one song,
immediately the drum pitch was changed, and everyone stopped singing
while several measures of rest intervened in the singing (although the
dancing kept going). During this interval of time the drum tuning took place. "
(cg note)
Does this the mean that the drumming also stopped,
so that they can tune the drum????
notice how the dancing does not stop but the drum is being tuned
in modern western orchestras the timpani player tunes the drum in between
movements, the orchestra does not stop playing)
"Then the leaders began another song somewhat higher in pitch and in a faster tempo,
thus ascending the musical scale as if a bass were to change by degrees into a soprano,
and a dance into a scramble.
At times they played their trumpets and also their flageolets;
a flageilet is a tlapitzalli
e.g.,
a small clay flute their flageolets often seemed not to be well tuned
[according to our ideas].
From the hour of vespers until nightfall their songs and dances
became extremely lively, and the pitch of the songs ascended into a bright
register so that the sound became extremely attractive, somewhat like that
of our tuneful carols in fast tempo. . . . The crowds were [usually]
immense, and the sound of the singing carried a tremendous distance.
FOR ADDITIONAL READING GO HERE
http://latinamericanhistory.about.com/od/coloniallatinamerica/a/motolinia.htm
BERNAL DIAZ SINGLES OUT THE FRIAR AS GIVING ALL HE HAS TO THE
INDIGENA,
"a true Franciscan"
I had the pleasure of visiting St Francis Basilica in Italy it is, like the church in Mexico
City AMAZING
http://www.newadvent.org/cathen/10601a.htm
Fray Motolinija wrote a letter to King Charles V complaining of the Dominicans
in Spain and actually suggested that every Spaniard go back to Spain and just leave
the clergy in Mexico,
as he saw how bad the indigenous were being treated.
see his letter below
http://dingo.sbs.arizona.edu/~rykash/collam/primarysources/motolinia_ %20letter.htm
Read more:
http://www.answers.com/topic/toribio-de-benavente-motolinia#ixzz349fD7qs9
http://www.newadvent.org/cathen/10601a.htm
http://latinamericanhistory.about.com/od/coloniallatinamerica/a/motolinia.htm
http://www.newadvent.org/cathen/10601a.htm
(1482?-1568)
was one of the most important “ethnographic” chroniclers of Mexican
society predating the Conquest, and he was the foremost exponent of
the millenarian ambitions of his order in the early years of Mesoamerican
evangelization.
Fray Toribio, a Franciscan who came with the pioneer missionary group of twelve,
arrived in Mexico in 1524.
"The Indians, seeing his miserable habit and noting that he walked barefoot,
called him mottling meaning poor.
This word was the first one that he learned and he henceforth adopted it as his own."
Like Bartolome de Las Casas who lived to be ninety-two,
Pedro de Gante who lived to be ninety,
and Sahagun who also lived to be ninety,
Motolinia lived to a great age.
His two principal works still extant were written in middle life.
HISTORIA DE LOS INDIOS DE LA NUEVA ESPANA
written 1541 not published until 1858
https://archive.org/stream/historiadelosind00moto#page/n5/mode/2up
and
THE MEMORIALES
written between 1556 and 1560
https://archive.org/stream/memorialesdefra00sngoog#page/n9/mode/2up
(less easily dated, but presumably written about the same epoch in Motolinfa's life)
both remained unpublished until 1858 and 1903 respectively both, however,
circulated widely in manuscript.
Nearly everything Torquemada said on aboriginal music was copied either directly
from Motolinia, or from Mendieta
(who copied Motolinia's description of pre-Conquest music)
Motolinia's early arrival assures authenticity.
Motolinia hated the Spaniard overlords almost as much as did the
crusading Las Casas at one time Motolinia was even accused of petition-
ing for the recall of all Spaniards from Mexico (except the clergy) be-
cause the bad example and conduct of the laity impeded the work of
conversion.
He undoubtedly favored the same exclusion of traders and
encomenderos that the Jesuits later favored (and successfully enforced)
in the famous Paraguay reductions.
In the following extract, which combines passages selected from
Chapters 26 and 27 in Part II of the Memoriales, Motolinia offers his
description of pre-Conquest music he tells
- how music functioned in Aztec life
- what kinds of instruments they used,
- how the Aztecs rehearsed their songs and dance music
- how it was rendered in actual performance,
- how musicians were evaluated in Aztec society,
- and why composers enjoyed special prestige.
"One of the commonest occurrences in this country were the festivals of
song and dance, which were organized not only for the delight of the
inhabitants themselves, but more especially to honor their gods, whom
they thought well pleased by such service.
Because they took their festivals with extreme seriousness and set great store by them,
it was the custom in each town for the nobility to maintain in their own houses singing-
masters some of whom [not only sang the traditional songs, but] also
composed new songs and dances.
Composers skilled in fashioning songs and ballads were held in high
repute and were everywhere in great demand. Among singers those who
possessed deep bass voices were the ones most sought after because it was
customary to pitch the songs all extremely low at the frequent private
ritual observances held inside the houses of the principal nobility.
Singing and dancing were nearly always prominent features in the
public fiestas which occurred every twenty days .....
The big fiestas were held outdoors in the plazas, but the less important ones
either in the private patios of the nobility or indoors in the houses of the nobles.
When a battle victory was celebrated, or when a new member of the
nobility was created, or when a chieftain married, or when some other
striking event occurred, the singing-masters composed new songs especially
for the occasion.
These singing-masters also sang, of course, the old songs
appropriate for the various observances in honor of their gods,
or in celebration of historical exploits, or in praise of their deceased chieftains.
The singers always decided what they were going to sing several days
beforehand and practiced diligently on their songs. In the large towns
(where there was always an abundance of good singers) those who were
to participate in a particular fiesta got together for rehearsal well in ad-
vance, especially if there were a new song or dance to be performed, so
that on the day of the fiesta all might go off with smoothness and pro-
priety.
The day of the fiesta a large mat was spread in the middle of the plaza,
and on this mat they placed their drums [teponaztlis and huehuetls] . The
musicians all gathered at the house of the chieftain and there dressed them-
selves for the fiesta. They came out of the lord's house singing and dancing.
Sometimes they started their dances in the early morning and other times
at the hour we celebrate high mass. At nightfall they re-entered the chief-
tain's house and there ended their singing either soon after dark, or oc-
casionally at a much later hour, sometimes even at midnight [depending
on the importance of the fiesta they were celebrating] .
The two types of drum were:
one, a tall round drum, bigger around than a man's body, and between three and
four feet high. It was made of excellent wood, and carefully hollowed out inside.
The exterior of the drum was painted; over the top of it was stretched a cured deerskin
[or other animal skin]. By tightening or loosening a particular skin, the pitch could be
raised or lowered within the limits of a fifth. The players changed its pitch with the
changing pitch of the singers. The other drum cannot adequately be described in
words without a picture at hand to show its appearance [teponaztli].
This other drum served as a deep counterbass; both had a fine sound
which carried a great distance.
While the dancers were getting in position the players got ready to
strike their drums.
Two of the best singers acted as song leaders and gave the
singers their pitch when they were ready to start.
The large drum with the animal drumskin was played with the bare hands;
but the other (teponaztli) (like the drums in Spain) was played with sticks.
The sticks had, however, a different shape from those used in Spain.
When they were ready to begin the dance three or four sounded some
shrill music on their whistles, which was the signal to begin. Then the
drumming began in a low, muffled tone, gradually increasing in volume.
Hearing the sound of the drums at the beginning of the dance, the dancers
[took the pitch of their song from the sound of the drums, and then] **
started singing.
The first songs were pitched low, sounding as if everything
had been transposed down. Moreover the tempo was slow.
The first song had to do with the particular occasion of the fiesta.
Two leaders (as we already said) always began the singing, and the
entire chorus following their lead then joined in singing and dancing.
The whole crowd often united in a dance routine that would challenge
the skill of the very best dancers in Spain.
More remarkable yet was the feet that not only their feet, but the en-
tire body, head, arms, and hands, moved together in their dances. . . .
Following their leaders in the singing and drumming, everyone changed
position at the same instant, and with such precision that the best Spanish
dancers marveled upon seeing them in action, and greatly admired the
dances of these people. . . .
The dancers in the outside ring adopted a beat twice as fast as those who danced in the
inside ring; this was done so that both outside and inside circles might stay
together. . . . Those in the inner circle, perfectly coordinating their movements, shifted
their feet and bodies more slowly than those in the outside circle, but it was mar-
vellous to see with what graceful dignity they moved their arms
Each verse or couplet was repeated three or four times.
The whole ensemble of singing and playing not only was kept in tune, but the dancing
rigorously followed the beat of the music. . . . Upon finishing one song,
immediately the drum pitch was changed, and everyone stopped singing
while several measures of rest intervened in the singing (although the
dancing kept going). During this interval of time the drum tuning took place. "
(cg note)
Does this the mean that the drumming also stopped,
so that they can tune the drum????
notice how the dancing does not stop but the drum is being tuned
in modern western orchestras the timpani player tunes the drum in between
movements, the orchestra does not stop playing)
"Then the leaders began another song somewhat higher in pitch and in a faster tempo,
thus ascending the musical scale as if a bass were to change by degrees into a soprano,
and a dance into a scramble.
At times they played their trumpets and also their flageolets;
a flageilet is a tlapitzalli
e.g.,
a small clay flute their flageolets often seemed not to be well tuned
[according to our ideas].
From the hour of vespers until nightfall their songs and dances
became extremely lively, and the pitch of the songs ascended into a bright
register so that the sound became extremely attractive, somewhat like that
of our tuneful carols in fast tempo. . . . The crowds were [usually]
immense, and the sound of the singing carried a tremendous distance.
FOR ADDITIONAL READING GO HERE
http://latinamericanhistory.about.com/od/coloniallatinamerica/a/motolinia.htm
BERNAL DIAZ SINGLES OUT THE FRIAR AS GIVING ALL HE HAS TO THE
INDIGENA,
"a true Franciscan"
I had the pleasure of visiting St Francis Basilica in Italy it is, like the church in Mexico
City AMAZING
http://www.newadvent.org/cathen/10601a.htm
Fray Motolinija wrote a letter to King Charles V complaining of the Dominicans
in Spain and actually suggested that every Spaniard go back to Spain and just leave
the clergy in Mexico,
as he saw how bad the indigenous were being treated.
see his letter below
http://dingo.sbs.arizona.edu/~rykash/collam/primarysources/motolinia_ %20letter.htm
Read more:
http://www.answers.com/topic/toribio-de-benavente-motolinia#ixzz349fD7qs9
http://www.newadvent.org/cathen/10601a.htm
http://latinamericanhistory.about.com/od/coloniallatinamerica/a/motolinia.htm
http://www.newadvent.org/cathen/10601a.htm