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The sound execution today of the “early music”, means a series of “decision-making” by the musician, which determine specific itineraries as to adopt or reject (finally translating them sound) different possibilities come their way, the researcher and practical musician. The choice therefore, one way or another, determine the type of final interpretation, closer to documentary sources, or more free from external constraints (more “artistic”), or even multiple other types of “tradeoffs”, halfway between the positions more “historicist” and those other supposedly less scientific, because of more distant from the original sources.  This study aims to approach the problems of long and complex process of “rescue” sound of any “new” historic music (here consciously limited the scope Hispanic seventeenth and eighteenth centuries), from locating manuscripts documentary files, transcription, study and subsequent critical edition by the musicologist, to its implementation by the musician through his public interpretation in concert.

"Del archivo al concierto": un itinerario para la recuperación teórica y práctica del barroco musical hispánico