I have been truly fortunate that three wonderful scholars of Spanish and
Latin American music—Tess Knighton, Henry Stobart, and Juan José Carre-
ras—have shown such belief in my work for many years. I deeply appreciate
their involvement and support. For their help and encouragement, I am
grateful to my colleagues past and present in the Music Department at Royal
Holloway, University of London, and to the community of Spanish historical
musicologists that has welcomed me at conferences and has engaged with
my work.
Many archive researchers have o√ered their thoughts and advice when
our paths have crossed. Gabriela Ramos, Jean-Jacques Decoster, Carolyn
Dean, and Kathryn Burns have given me vital assistance at various stages of
this project and have inspired me with their exemplary work. Pedro Guibo-
vich kindly provided useful leads in Cuzco and Seville. I would particularly
like to thank Donato Amado, my archival maestro and friend, who has helped
me in more ways than I can remember, and who, along with Gabriela
Ramos, located a number of early-seventeenth-century notarial documents
cited in this study. I owe an intellectual debt not only to these scholars, but
also to the work of Robert Stevenson and Samuel Claro, pioneers in the
investigation of Cuzco’s music history, and to that of Bernardo Illari and
Juan Carlos Estenssoro, two inspirational musicologists of the Andean re-
gion. Bernardo has o√ered support and assistance since before the idea for
this book was formed, and his work has always been an example to me.
Estenssoro’s unpublished master’s thesis is a model of Latin American
historical musicology, though its accessibility is sadly very restricted.
I am grateful to the directors and archivists of the Archivo Departamental
del Cuzco; the Archivo Arzobispal del Cuzco; the Archivo Arzobispal de
Lima; the Biblioteca Nacional del Perú, Lima; and the Archivo General de
Indias, Seville. Diana Fernández Calvo and the sta√ at the Universidad
Católica de Argentina kindly assisted me during my research in Buenos
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