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<dc:title>Apuntes sobre la liturgia en la catedral de Pamplona. Ritos, magnificencia y poder</dc:title>
<dc:creator>Fernández García, Ricardo</dc:creator>
<dc:subject>Ceremonia</dc:subject>
<dc:subject>Rito</dc:subject>
<dc:subject>Cabildo</dc:subject>
<dc:subject>Fiesta</dc:subject>
<dc:subject>Poder</dc:subject>
<dc:subject>Autoridad</dc:subject>
<dc:subject>Capilla de música</dc:subject>
<dc:subject>Gigantes</dc:subject>
<dc:subject>Infantes</dc:subject>
<dc:subject>Ceremony</dc:subject>
<dc:subject>Rite</dc:subject>
<dc:subject>Council</dc:subject>
<dc:subject>Party</dc:subject>
<dc:subject>Power</dc:subject>
<dc:subject>Authority</dc:subject>
<dc:subject>Music chapel</dc:subject>
<dc:subject>Giants</dc:subject>
<dc:subject>Infants</dc:subject>
<dc:description>Las formas y tipologías artísticas, la música y los ritos solemnes de una liturgia, especialmente&#xd;
cuidada, han distinguido, secularmente, a nuestras catedrales. De modo muy especial en las fiestas, en donde se han venido fundiendo lo solemne (rito), lo artístico (belleza) y lo extraordinario&#xd;
(infrecuente). El ejemplo de la catedral de Pamplona y su ceremonial, a lo largo de los siglos,&#xd;
viene a ejemplificar la importancia de los mencionados elementos, en una ciudad que ostentaba&#xd;
la capitalidad del virreinato navarro, en la que los elementos de poder y representación cobraban&#xd;
un especial significado.</dc:description>
<dc:description>The forms and artistic typologies, the music and the solemn rites of a liturgy, especially careful,&#xd;
have distinguished, secularly, our cathedrals. In a very special way in the festivals, where the&#xd;
solemn (rite), the artistic (beauty) and the extraordinary (infrequent) have been merging. The&#xd;
example of the cathedral of Pamplona and its ceremonial, throughout the centuries, comes to&#xd;
exemplify the importance of the aforementioned elements, in a city that held the capital status of&#xd;
the Navarrese viceroyalty, in which the elements of power and representation took on a special&#xd;
meaning.</dc:description>
<dc:date>2023-02-01T10:24:58Z</dc:date>
<dc:date>2023-02-01T10:24:58Z</dc:date>
<dc:date>2022-07</dc:date>
<dc:type>info:eu-repo/semantics/article</dc:type>
<dc:identifier>2952-1084</dc:identifier>
<dc:identifier>http://hdl.handle.net/10259/7366</dc:identifier>
<dc:identifier>10.36443/sarmental.45</dc:identifier>
<dc:identifier>2952-1084</dc:identifier>
<dc:language>spa</dc:language>
<dc:relation>Sarmental. 2022, n.1, p. 85-104</dc:relation>
<dc:relation>https://doi.org/10.36443/sarmental.45</dc:relation>
<dc:rights>http://creativecommons.org/licenses/by-nc-nd/4.0/</dc:rights>
<dc:rights>info:eu-repo/semantics/openAccess</dc:rights>
<dc:rights>Attribution-NonCommercial-NoDerivatives 4.0 Internacional</dc:rights>
<dc:publisher>Universidad de Burgos. Cátedra de Estudios del Patrimonio Artístico Alberto C. Ibáñez</dc:publisher>
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