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In this study on the musical lives of nuns in colonial Latin America, author Cesar D. Favila argues that the sounds of cloisters were deemed essential for the promotion of the Immaculate Conception of the Virgin Mary and, by extension, the salvation of early modern society. Through analysis of these "immaculate sounds," rarely studied archival sources, rulebooks, devotional literature, and nun's biographies, Favila locates women's agency within a hierarchical society that silenced some women and required others to sing.
Cesar D. Favila is Assistant Professor of Musicology at UCLA. His work focuses on Mexican music, ranging from colonial New Spain to the contemporary Chicano experience, and often residing at the intersections of music, religion, gender, and race. Favila's work has been funded by numerous grants and fellowships, including support from the American Council of Learned Societies, the American Philosophical Society, and the Fulbright Program, among others.
Dedication
Table of Contents
Preface, or an Autohistoria-Teoría
List of Figures
List of Examples
List of Tables
List of Appendices
Note on Sources
Introduction: Veil and Voice
Part I. Acousmatic Discipline
1. Immaculate Conflicts: Resounding Mary's Immaculate Conception, or Who Was Sister Flor de Santa Clara?
2. Sonic Thresholds: The Grates of the Cloister and the Lips of Nuns, or Who Was Sister Rosa?
3. Disciplined Sounds: Dowry Waivers and Race, or Who Was Sister Mariana Josefa de Señor San Ignacio?
Part II. Unity
4. Feasting Sounds: The Eucharistic Honeymoon, or Who Was Sister Paula?
5. Redeeming Sounds: Resounding the Passion of Christ and His Spiritual Brides, or Who Was Sister Marina de San Francisco?
Epilogue
Acknowledgements
Appendices
Notes
Select Bibliography
Index
