caa a22 4500 388052708 CHVBK 20180307125058.0 cr unu---uuuuu 161130e199810 xx s 000 0 eng 10.1017/S0261127900001637 doi S0261127900001637 pii (NATIONALLICENCE)cambridge-10.1017/S0261127900001637 Gutwirth Eleazar Tel Aviv University Music, identity and the Inquisition in fifteenth-century Spain [Elektronische Daten] [Eleazar Gutwirth] Sometime between the years 1330 and 1343, Juan Ruiz, Archpriest of Hita in Castile, included this maxim in his literary masterpiece, the Libro de buen amor. This verse, like others in the poem, attributes an ethnic identity both to objects and to vocal music, a form of ethnic marking that has been preserved in Spanish culture by linguistic usage: the Arabic particle a[1] in the prefix to words for musical instruments such as adufe (square tambourine), ajabeba (transverse flute) or anafil (a straight trumpet four feet or more in length) is a possible reminder of this phenomenon. About a century later, the chronicler Alonso de Palencia (d. 1492) applied similar ethnic markings when speaking of the music of a young Castilian converso who was to become one of the most powerful courtiers of King Enrique IV, Diego Arias Dávila: ‘per rura segobiensia cantibusque arabicis advocabat sibi coetu rusticorum'. Copyright © Cambridge University Press 1998 Early Music History Cambridge University Press 17(1998-10), 161-181 0261-1279 17<161 1998 17 EMH https://doi.org/10.1017/S0261127900001637 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0261127900001637 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Gutwirth Eleazar Tel Aviv University NATIONALLICENCE 773 0- Early Music History Cambridge University Press 17(1998-10), 161-181 0261-1279 17<161 1998 17 EMH CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 117255017 BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge