The Marian repertory by Tomas Luis de Victoria in Toledo, 'Biblioteca Capitular Mus. B. 30': A case study in Renaissance imitatio

Manuscript Mus. B. 30 belongs to one of the thirty-five polyphonic choirbooks that are preserved in the archive and library of the Toledo Cathedral. It contains an exclusively Marian repertory by Tomas Luis de Victoria: three Marian masses (Ave maris stella, De Beata Maria, and Gaudeamus), three magnificats (primi, quarti and octavi toni), the Vespers psalm-motet Nisi Dominus, and the most popular of the Marian antiphons, Salve Regina. This choirbook, copied in the Vatican scriptorium ca. 1576-1577 by Johannes Parvus, is of great importance because it transmits markedly different versions of eight of Victoria's compositions first published in his 1576 Venetian print: Liber primus qui missas, psalmos, Magnificat.;Since Victoria's magnificats from the Toledo manuscript were examined in this author's master's thesis, this dissertation focuses mainly on the rest of the repertory. The nature and reasons for variant readings between the manuscript prepared for the Toledo Cathedral) and the printed source (aimed at a general market) are conducted in a broad historical and theoretical context. In order to trace the main influences on Victoria's compositional practice, his multiple borrowing techniques are discussed within the concept of Renaissance imitatio.;Chapter I discusses the provenance of the manuscript in the background of the Franco-Flemish and Spanish repertory preserved in the polyphonic choirbooks in the Toledo Cathedral. It also outlines the liturgical and devotional function of the Marian compositions from the Toledo manuscript and the related Venetian publication. In the search of Victoria's sources of inspiration, his Missa Ave maris stella (Chapter II) and Missa de beata Virgine (Chapter III) are compared with the parallel mass settings based on the same pre-existent chant melodies by his Franco-Flemish, Spanish, and Italian predecessors. Special attention is given to the investigation of Victoria's compositional procedures in his Missa Gaudeamus based on the motet Jubilate Deo by his Spanish compatriot Cristobal de Morales (Chapter IV).;The Nisi Dominus and Salve Regina compositions are presented in the context of Victoria's own multiple contributions to psalm and antiphon settings representing through-composed, alternatim, and polychoral style of performance (Chapter IV and V). These small-scale genres are also used as the departure point for illuminating Victoria's compositional process related to his borrowing of the conventional contrapuntal as well as chordal patterns (Chapter VII). The final chapter evaluates the characteristic features of the manuscript in the context of our notion of Spanish style in the sacred Latin repertory of the Renaissance. My emphasis is placed on the role of Victoria in transplanting some of the elements of the Spanish tradition, as represented in the Sevillian repertory, to the mainstream of Renaissance music.