The Revista Brasileira de Música (Brazilian Journal of Music) begins its ninth decade celebrating Brazilian music and its intersections with international musicological thought and its brotherhood with Latin America. The RBM consolidates its editorial policy of internationalization and democratization of access to knowledge, and seeks to promote the improvement of musicological approaches and to reformulate its interdisciplinary postures.
This issue proposes the theme “Cosmoramas,” which evokes the various worldviews brought by music in its cultural, stylistic and ideological diversity, alongside a proposal for undisciplined science of music. The suggestive title “cosmoramas” appropriates the experience of those “installations” of the urban culture of the 19th-20th centuries, which
The opening article by Denis Laborde (Centre National de la Recherche Scientifique) proposes the restoration of a tout cour musicology by promoting a shared heuristic approach that seeks to amalgamate heterogeneous knowledge. This all-encompassing posture opens the discussion to the proposal of overcoming formalism through the concept of “embodied meaning,” exposed in the article by Marcos Nogueira (UFRJ). The third article, by Martha Tupinambá Ulhôa (UniRio) and Luiz Costa Lima Neto (UniRio), discusses the construction of founding narratives of national identity rooted in a selective memory, by presenting a study on the Afro-Brazilian genre lundu that approached coeval sources such as journals and scores. The article by Marcelo Verzoni (UFRJ) offers an analytical documentary study on Ernesto Nazareth’s works which shows that the genre names of Brazilian popular music of the late nineteenth century and early twentieth century were not necessarily linked to stylistic concepts, but above all to the conditions of the music market. The article by Manoel Aranha Corrêa do Lago (Brazilian Academy of Music) proposes a new insight into some compositional procedures of Villa-Lobos by establishing new parameters for the understanding of his compositional process, which leads to overcoming the pejorative value judgment that has permeated the aesthetic appreciation of some works by Brazilian composer. Following the path of the style studies on the nationalist modernism, the article by Luther Rodrigues (Unesp) provides a discussion of some characteristics of Camargo Guarnieri’s musical language, reassessing the various stages of his creative trajectory. The article by Mauro Camilo de Chantal Santos (Unicamp) and Adriana Giarola Kayama (Unicamp) deals with the various historical moments that marked the composition of an opera by the composer from Pará, Arthur Iberê de Lemos (1901-1967).
In the Memory section, Eliana Monteiro da Silva (USP) provides valuable research on the Argentine-Brazilian pianist Beatriz Balzi, who worked systematically for the dissemination of Latin American music in Brazil, with special emphasis on contemporary music, building bridges between the Spanish-speaking and the Portuguese-speaking America. The interview of this issue, conducted by Ana Paula da Matta Machado Avvad (UFRJ) and Nathália Martins (UFRJ) has the privileged to count with the valuable collaboration of the world-renowned multi-instrumentalist and composer Egberto Gismonti, who generously shared his musicality and his critical thinking, and restless, questioning, and exceptionally creative spirit.
In the Brazilian Music Archive section, Mário Alexandre Dantas Barbosa (UFRJ) and Maria Alice Volpe (UFRJ) present an introduction to the edition here published of Romanza senza parole “T’Amo” (version for double string quartet), by the composer from Belém do Pará, Otávio Meneleu Campos (1872-1927), based on the manuscripts held by the National Library of Brazil in Rio de Janeiro.
Pour une science indisciplinée de la musique / Towards an undisciplined science of music
Dans cette contribution, le mot musicologie désigne “la science de la musique”, dans son acception la plus large, comme démarche de connaissance portée par des disciplines disparates qui ont en commun d'avoir la musique pour objet. Or, tous les indicateurs (cursus universitaires, rencontres d'experts, ouvrages spécialisés, marathons encyclopédiques...) en portent témoignage: ceux qui consacrent leur vie à l'étude de la musique ne renoncent pas à l'idée de construire une science englobante. Nous ne renonçons pas à l'idéal d'une totalisation des savoirs, d'une musicologie fédératrice, riche de l'infinie diversité des domaines de spécialité qui la composent. Ne rêvons-nous pas encore de cette musicologie générale qui fit la marque distinctive d'une musicologie à la française? Car il faut un ciment, nous avons grandi à l'abri de cette évidence, nos institutions l'administrent. Il faut un ciment pour rassembler sous un même intitulé des entreprises de connaissance disparates qui, loin de s'autonomiser dans le panorama institutionnel des sciences de la musique, cherchent au contraire à s'y agréger et revendiquent pour cela d'être abritées sous un intitulé commun. Il s'ensuit que cet effort de généralisation - qui vise à rassembler sous les auspices de la science musicologique, mais selon des degrés de pertinence variables, les études ou les démarches de connaissance les plus diverses - s'apparente bien davantage à une juxtaposition hétéroclite et sans cesse mouvante de disciplines instituées ou en voie de l'être qu'à la mise en œuvre d'une démarche heuristique partagée. Cette contribution propose d'inverser la perspective à partir d'analyse de cas.
Épistémologie – encyclopédie – ontologie – musique – ethnomusicologie – musicology
Cosmoramas, lundus, and caxuxas in Rio de Janeiro (1821-1850)
Martha Tupinambá de Ulhôa and Luiz Costa-Lima Neto
The construction of founding narratives of national identities makes use of a selective memory, prioritizing aspects that tend to be revised after a return to primary sources. This is also applies to the lundu dance, elected as one of the fundamental pillars of the history of popular music in Brazil. Lundu (lundum, ondu, lundú), together with the
Brazilian music – popular music – lundu – caxuxa – musical historiography.
Ernesto Nazareth, a matter of genre: on manuscripts, sheet music, and recordings
This study approaches the whole body of musical works by Ernesto Nazareth (1863-1934) in order to discuss the issue of musical genre. It presents an analysis of historical documents that specify the terms, and the compares them with terms given later by many musical practices. This inquiry gives special emphasis on the terms “tango” and “choro”, by comparing musical manuscripts, sheet music, and recordings. It concludes that the designation of musical genre was not necessarily attached to stylistic conceptions, but mostly to the constraints of the musical market, and to the fads that tangled publishers and producers of spectacles.
Brazilian music – popular music –musical market – musical genre – 19th century – 20th century.
Villa-Lobos’s compositional processes: transciptions and “works in progress” in the 1930s and 1940s
Manoel Aranha Corrêa do Lago
Villa-Lobos wrote a number of works that have as peculiarity, the fact that its construction be based on reuse and transcription of earlier compositions. The place occupied not only by “works in progress” during the 1930s and 1940s, but also by transcriptions (of his own works as well as others) and / or re-compositions of works of the 1920s and, surprisingly, of the 1910s, it seems to denote a retrospective look and a reassessment of his past work. This study addresses those compositional procedures in order to understand the compositional process of Villa-Lobos on the threshold of a period of compositional shift.
Brazilian music – musical nationalism – Heitor Villa-Lobos – 20th century – compositional process.
On some characteristics of Camargo Guarnieri’s musical language
This article deals with some of the stylistic characteristics that mark Camargo Guarnieri’s musical language, looking for the origins of those features, the way they function in the general ambit of the musical work, and their evolution through the composer’s creative trajectory. It also proposes the division of Camargo Guarnieri’s musical work in different phases, based on historical facts, and the aesthetic transformations found in his work.
Brazilian music – musical nationalism – Camargo Guarnieri – Mário de Andrade – 20th century.
The Cardinals’ supper, opera by Arthur Iberê de Lemos: its composition and première
Mauro Camilo de Chantal Santos and Adriana Giarola Kayama
The only complete opera composed by the Brazilian composer Arthur Iberê de Lemos (1901–1967) – A ceia dos cardeais (The Cardinals’ supper) – took several decades from the composition of the vocal score to the completion of the orchestral score. It premiered in 1963 at the Francisco Nunes Theater in Belo Horizonte. This article will discuss the stages of the creation of the opera since its first drafts, historical aspects, including attempts to stage the opera, supported by important Brazilian musicians, such as Heitor Villa-Lobos and Lorenzo Fernandez. Through this article we intend to disseminate Arthur Iberê de Lemos and his works, in particular, the opera A ceia dos cardeais.
Brazilian music – musical nationalism – opera - Arthur Iberê de Lemos – 20th century.
Beatriz Balzi (1936-2001): Latin America and contemporaneity as choice
Eliana Monteiro da Silva
Egberto Gismonti, volatile music
Ana Paula da Matta Machado Avvad and Nathália Martins
BRAZILIAN MUSIC ARCHIVE
Introductory notes to Romanza senza parole “T’Amo”, version for double string quartet (ms. BNRJ) by Otávio Meneleu Campos (1872-1927)
Mário Alexandre Dantas Barbosa amd Maria Alice Volpe
Romanza senza parole “T’Amo” for double string quartet (edition by Mário Alexandre Dantas Barbosa and Maria
Otávio Meneleu Campos