Antiquification

Many of these later versions are, oddly, put into duple meter; for an edition of one such, based on Granada 3, see José López Calo, La música en la catedral de Granada en el siglo XVI (Granada, 1963), vol. II, pp. 151–3, commentary pp. xxi–xxii. Burgos s.s. puts the piece in 𝄵 meter, and Plasencia 4 in Ͼ, which makes no sense and may be a selfconscious antiquification.

Describing a process of antiquification-through-layering, Cooper lays a theoretical groundwork for localities to take on historical interest regardless of chronological age, and reciprocally, suggests one can, by focusing on local layers, elicit the sense of antiquity which seemed so elusive in the United States as a whole.

Regis discusses what she terms the “antiquification” of black cultural practices in photographic representations of the second line. She suggests that while such images may on the one hand challenge stereotypical images of black people as criminal, corrupt, or otherwise pathological, consigning these groups to the past not only makes invisible the dynamism of continually evolving second line practices, but may “provide [to those outside that community] illusionary access to a world they would never otherwise be able to enter. … It creates a virtual communion across boundaries of race, class, and culture.”

The “antiquification” and “southernization” of Poland at work in Jutrzenka resonated with other contemporaneous attempts to move Poland away from the Slavonic sphere, to de- and reterritorialize it, as it were.