Abstract
Lope’s employment of music not only illustrates his understanding of the musical activity of his age, but also highlights his knowledge of musical philosophy. The connection between musical performance and the neoplatonic notion of harmony emerges as a central element of Peribáñez y el Comendador de Ocaña in Lope’s text as well as Ricardo Lucía’s 1967 production for Spanish television. Studies on the integration of music and philosophical ideas regarding harmony underscore the connections between the written text, the score, and the performance for internal and external audiences. Although the specifics of many performances in the early modern era have not survived, modern productions of Peribáñez, in conjunction with the performative components incorporated in the written play text, open a window to the role of music in performance.
