RBM 25/2

Religiosity and secularization




     
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This issue of the Revista Brasileira de Música (Brazilian Journal of Music), under the theme “Religiosity and secularization”, deals with the production and reception of musical genres in liturgical and secular contexts, the ongoing redefinition of the social function of music, from the traditions of the Iberian and Luso-Brazilian colonial period to their redirection to European cosmopolitan models, especially in the period of transition from monarchy to republic in Brazil. It requires attention to the reciprocal relationship between religious music committed to secular affections and secular music committed to religious affections.

In the opening article, Rui Lopes Cabral (University Complutense of Madrid, Spain / New University of Lisbon, Portugal) deals with the most important sources of vilancicos sang in the Portuguese Royal Chapel – currently held by the National Library of Lisbon, Portugal, and the National Library of Rio de Janeiro, Brazil – and the strong presence of this genre in Portuguese musical life in the seventeenth century and early eighteenth century, considering the interdependence between society, religion, and royal power. Régis Duprat (University of São Paulo) offers a historical analysis and style critique of Luso-Brazilian music, interweaving the specific problems associated with musical documentation, the hypothesis implicit in the “notational revolution”, and ontological assumptions underlying the liturgical texts whose character conditions the musical syntax vis à vis compositional techniques and the appropriation of musical styles.

The five following articles provide an overview of the various regions of Brazil in subsequent historical periods: Mary Angela Biason (Museum of Inconfidencia in Ouro Preto) discusses the festivities for the failure of the conspiracy movement in three towns of Minas Gerais – Villa Rica, São João del Rei and Sabara – in the context of the official calendar of civic and religious festivities during Colonial Brazil, and the system of hiring musicians. Marshal Gaioso Pinto (Federal Institute of Goiás) discusses the role of music in the brotherhoods that were part of the society of Goiás based on documents from the eighteenth and nineteenth centuries. Paulo Augusto Soares (Attorney General of the State of São Paulo) and Edilson Vicente de Lima (Federal University of Ouro Preto) present a stylistic study on the Portuguese composer and chapel master of São Paulo, André da Silva Gomes, discussing the compositional procedures for conferring musical expressiveness to liturgical texts, taking advantage of different musical styles prevailing in his time, in the light of his treatise on counterpoint. Thiago Santos (Federal University of Rio de Janeiro) discusses the sacred work of Brazilian composers from the nineteenth century and early twentieth century, including José Maurício Nunes Garcia, Henrique Oswald, Alberto Nepomuceno, and Francisco Braga in the many contexts determied by institutional, political, and religious junctures as well as aesthetic and stylistic trends, from the influence of opera’s profane style in religious music to the reformist stance of the motu proprio and the treatment of sacred genres for aesthetic expressiveness. Mário Alexandre Dantas Barbosa (Federal University of Rio de Janeiro) offers an assessment of sacred music in Belém of Pará at the very end of the nineteenth century and the production of the composer Otávio Meneleu Campos (1872-1927), who served in his native town in the first quarter of the twentieth century.

In the Memory section, the RBM pays tribute to the critic and historian of music in Brazil, Eurico Nogueira França (1913-1992) through the pen of Vasco Mariz (Brazilian Academy of Music). This issue’s interview, conducted by me, also editor of this journal, is dedicated to the composer Jorge Antunes, who is celebrating his 70th anniversary, reflecting on his pathway through music and politics. In the Brazilian Music Archive section, Roberto Macedo (Federal University of Rio de Janeiro) presents an introduction to the musicological edition prepared by André Cardoso (Federal University of Rio de Janeiro) of Leopoldo Miguez’s Madrigal for violin and orchestra, whose manuscript is found in the Alberto Nepomuceno Library.

 

EDITORIAL

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ARTICLES


The villancico repertory of the Portuguese Royal Chapel: sociolinguistic vectors, musical implications and symbolic representation of royal power

Juan Pablo González 

Abstract

One of the main evidences of Portuguese musical life in the seventeenth-century and early eighteenth-century is the collection of villancicos chapbooks imprinted for the Portuguese Royal Chapel from 1640, the year of acclaim of King D. João IV as the legitimate heir of the Portuguese crown, following six decades of dual monarchy embodied in the Spanish Habsburg dynasty. Over seventy-six years, the villancicos were sang during the services of Matins of Christmas, Epiphany and Immaculate Conception, in what became an almost unbroken tradition that met an abrupt end in 1716. Along with the aspects of interdependence between society, religion and royal power, this article highlights the musical information revealed by the sources.

Keywords

Villancico – Villancico chapbooks – Lisbon Royal Chapel – Portuguese baroque music.

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Sacred music in Colonial Brazil: some ontological and hermeneutic reflections

Régis Duprat 

Abstract

Ontological semantic richness of liturgical texts sustains sacred music, and their jointly discourse is structured on the techniques and poetics that evolve historically. The challenges of tradition of musicological studies applied to research on primary sources in Brazil provided access to a rich musical heritage that dates back to the 18th century. It is misleading to presuppose that the musical activities in Colonial Brazil were localized outside the European circuit of that specialty. On the contrary, they also took part in the generation of methods and theoretical treatises in the service of creative activities of the profession. It is also misleading to restrict musical activities geographically to the border regions of the colony's administrative power, and to underestimate the excellence of the compositions and the variety and quantification of the repertoire, as European musicology has done concerning the Iberian music of the same period.

Keywords

Colonial period – sacred music – Baroque style – Classical style – sequential harmony – varietaspathos.

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The festivities for the failure of the Inconfidência Mineira – 1792

Mary Angela Biason

Abstract

The events of 1792 by the failure of the Inconfidência Mineira are discussed in the context of the civic and religious official calendar in various localities of Brazil: Rio de Janeiro, Tiradentes, Mariana, Vila Rica, São João del Rei, Sabará, and Serro. The hiring of musical services is analyzed within the system of public bidding, characteristic of public administration in the colonial period. The analysis of the reports on the performance of the Te Deum for the failure in three villages of Minas Gerais – Vila Rica, São João del Rei, and Sabará – revealed current musical practices as well as the musicians involved. The survey of historical and musical documentation aimed at gather further subsidies for the identification of the Te Deum that was possibly performed at the occasion as well as their authorship.

Keywords

Colonial period – music and history – festivities – public administration – Minas Gerais – independence movements.

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Music in the Brotherhoods of Goiás

Marshal Gaioso Pinto 

Abstract

Brotherhoods played a key role in the process of funding of the State of Goiás. Whereas in Europe and other regions of Brazil the place of music in these associations has been carefully studied, in regards to Goiás the subject is virtually unexplored. However, it is clear that brotherhoods promoted a rich musical movement in Goiás as well. Judging by the amount of unpublished data regarding musical activities found in eighteenth-and-nineteenth documents produced by the brotherhoods, it is necessary a reevaluation of the role played by the music in the society of Goiás in the Colonial and Imperial Periods. On the other hand, the study of musical activities promoted by the brotherhoods contributes for the better understanding of those institutions which were so important for the development of the region that is now the States of Goiás and Tocantins.

Keywords

Colonial period – Sacred music – history of Goiás – religion – brotherhood – confraternity.

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Offertories: the stylistic microcosm of André da Silva Gomes (1752-1844)

Paulo Augusto Soares and Edilson Vicente de Lima

Abstract

The Offertories by André da Silva Gomes present many common characteristics concerning their compositional parameters which allow different musical approaches torwards liturgical texts. The elements of musical syntax are based on solutions of expressiveness associated with the Baroque, including the constant use of musico-rhetorical figures, and are analized under the light of the precepts laid down in his treatise The Explained Art of the Counterpoint. This series of works can be considered a microcosm of the composer's style while transiting with freedom by different musical styles in force at the time, since the strict contrapuntal writing of the schools of the 16th and 18th centuries, to the important Neapolitan music adapted to the Iberian-Brazilian horizons.

Keywords

Colonial period – sacred music – Baroque style – Neapolitan school – Portuguese-Brazilian music.

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Sacred music in Rio de Janeiro, from monarchy to republic

Thiago Santos 

Abstract

This article offers a historical perspective on sacred music in Rio de Janeiro, from the monarchical period up to the first Republic, discussing the sacred music of Brazilian composers from the 19th century until the first decades of the 20th century in various contexts framed by institutional, political, religious junctures and aesthetic-stylistic trends. Reflects on the impact of the Motu Proprio on sacred music production in the period and concludes that the sacred music was composed as a work of pure concerto demonstration of compositional skill or as a result of religious thought influenced by the reformist trend from the international music scene.

Keywords

Sacred music – Brazilian Romantic music – 19th century –20th century

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Music for the churches in Belém of Pará in the latenineteenth century

Mário Alexandre Dantas Barbosa

Abstract

This article presents an overview of sacred music in Belém do Pará in the late 19th century, and also focuses in the sacred works of the Pará composer Otávio Meneleu Campos (1872-1927), a musician that acted in his hometown during the first quarter of 20th century. The first section of the article, a product of a detailed survey in the newspaper A Provincia do Pará, shows some important details about the main musicians devoted to provide music for liturgical services and popular festivals sponsored by Catholic Church. The referred survey has the second semester of 1899 as its time delimitation, when Meneleu Campos was about to return to his hometown after spending almost ten years in his studies abroad. The second part, reached through an intersection of information colected from the musical manuscripts and other sources (periodicals and specific bibliography about the composer) addresses the compositional context of Meneleu Campos' sacred works and presents a balance of this parcel in contrast to his global production.

Keywords

Sacred music – Belém do Pará – Meneleu Campos – 19th century – 20th century.

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MEMORY

Remembering Eurico Nogueira França (1913-1992)

Vasco Mariz

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INTERVIEW

Jorge Antunes, 70 years of music and politics

Maria Alice Volpe

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BRAZILIAN MUSIC ARCHIVE

Madrigal para violino by Leopoldo Miguez

Roberto Macedo

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Madrigal para violino (edition by André Cardoso)

Leopoldo Miguez

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