Abstract

Musicological interest in the convent of the Descalzas, Madrid, has focused almost exclusively on the salaried male musicians (notably Tomás Luis de Victoria) who provided music for the institution and the nuns and royal daughters who resided there. Yet contemporary chronicles and spiritual biographies offer insight into nuns' music as well; these documents suggest the careful crafting of an image of the women's piety and the deliberate projection of Habsburg spiritual authority through musical means, from private devotional singing in the cloister to a Habsburg nun's public musical patronage.

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