In eighteenth-century Mexico City, cathedral musicians made explicit and considered use of music and institutional affiliation in order to construct their Spanish identity.

TABLE OF CONTENTS, DEDICATION, ACKNOWLEDGEMENTS, TABLE OF CONTENTS, LIST OF FIGURES, GLOSSARY, INTRODUCTION, CHAPTER ONE - STUDYING MUSIC CULTURE IN NEW SPAIN, DT Introduction, DT Rupture and Continuity, DT New Approaches to Colonial Music Culture, CHAPTER TWO - MUSIC, RACE, AND SOCIAL STATUS, DT Introduction, DT Music and Social Life, DT Race and Calidad, DT Shifting Trends in Music and the Benefits of Corporate Membership, CHAPTER THREE - MUSIC, LETTERS, AND THE CLERICAL PATH, DT Introduction, DT Limpieza de Sangre as Social Currency, DT Nobility: The Desired Calidad, DT Music: Strategy for an Ecclesiastical Career, DT The Choir Chaplains, CHAPTER FOUR - IGNACIO JERUSALEM AND CHANGES IN MUSIC THOUGHT, DT Introduction, DT Politics in Music Thought, DT Profiling a Chapelmaster, DT Musica Practica vs. Musica Especulativa, DT The Limits of Musica Practica: Caveats for a Parvenu, CHAPTER FIVE - DECENCY IN THE MUSIC CHAPEL, DT Introduction, DT Part One - Antecedents, o The Chapelmastership under Challenge, o The Issue of Erudition, o Financial Concerns, DT Part Two - Transforming the Music Chapel, o The Loss of Corporate Structure, o Rescuing the Corporation, o Decency: The Calidad of the Corporation, EPILOGUE - FURTHER CONSIDERATIONS ON RACE AND MUSIC CULTURE, APPENDIX, REFERENCES, INDEX