How to Cite
Abstract
The present article explores the intertextual links between Santiago de Murcia’s compositions and those of seventeenth-century composers. In particular, I analyze cases of citation, paraphrase, and allusion in two of his manuscripts, “Cifras selectas de guitarra” (1722) and the so-called “Códice Saldívar no. 4” (ca. 1732). Among the results of such analysis is the establishment of previously undocumented relationships with important composers such as Domenico Pellegrini, Giovanni Paolo Foscarini, and Gaspar Sanz. Finally, drawing on previous research in jazz, I postulate that the intertextual links illuminate the improvisatory nature of Murcia’s music, making it possible to understand them in at least two ways: (1) as a communicative act with a trained listener capable of identifying pre-existing musical material, whether cited, paraphrased, or alluded to through the use of fragments; and (2) as a conscious tribute by Murcia to his predecessors.