Abstract
El objetivo de este trabajo es reflexionar acerca de uno de los ingredientes más invisibles del teatro del Siglo de Oro: la música instrumental y los efectos acústicos que no incluyen la participación de cantantes. Mediante el análisis de todas las apariciones de cajas o tambores militares percutidos en las comedias de Francisco Bances Candamo, con la dificultad que supone la escasez generalizada de acotaciones destinadas a la música instrumental, se dibuja una estrategia dramática para vincular el oído con lo bélico, sea para animar al soldado, sea para las honras fúnebres de los caídos, con las implicaciones ideológicas que ello tiene en el primer gran espectáculo de masas de la modernidad. The aim of this paper is to reflect on one of the most invisible ingredients of the Spanish Golden Age theatre: instrumental music and acoustic effects that do not include the participation of singers. Through the analysis of all the occurrences of cajas or percussed military drums in the plays of Francisco Bances Candamo, with the difficulty that supposes the generalized scarcity of stage directions destined to the instrumental music, a dramatic strategy is drawn to link the ear with war, either to animate to the soldier, or for the funeral honors of the fallen, with the ideological implications that this has in the first great mass spectacle of modernity.
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