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- Liturgical chant and devotional practices in late medieval Dominican nunneriesPublication . Hoefener, Kristin; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)This chapter describes the liturgical life of Dominican nunneries and their characteristic slow, clearly articulated chant. It situates this practice within the order’s thirteenth-century standardization and notes regulations specific to women’s communities. Marian devotion structures much of the repertoire, with Alma redemptoris mater, Ave regina caelorum, Regina caeli, and especially Salve regina marking the day and the year. The Salve regina is traced in Dominican sources without tropes, but with local notational and modal variants. The article links local cults to repertoire, including St Ursula (with Cistercian transmission into Iberia), Catherine of Siena in Aveiro, and St Gertrude in Cologne. Sister-books from Engelthal and St Katharinental provide evidence for vernacular versions, use at deathbeds, and the responsibilities of cantrices. Processional practices—such as kneeling at “Salve” and rising at “Regina”—show how movement accompanied chant. Practical guidance for tempo, pitch, and phrasing appears in convent registers and theoretical texts like Jerome of Moravia’s Tractatus de musica. The chapter argues that Latin liturgy and private devotion interacted closely, with repertoire continually adapted to local contexts. Overall, chant served as a central medium of piety and community identity in late medieval Dominican nunneries.
- Sancho Panza comes to BrazilPublication . Cranmer, David; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)The Brazilian-born Jewish dramatist António José da Silva (1705-39) marked the history of Luso-Brazilian theatre with the first ‘Portuguese Opera’, a puppet opera premiered at Lisbon’s Teatro do Bairro Alto (1733) and entitled A vida de D. Quixote de la Mancha e do gordo Sancho Pança. Published after his death, at the hands of the Inquisition, in Theatro comico Portuguez, ou colecção das operas Portuguezas (Lisboa, 1744), it established new paradigms: the use of prose dialogue and verse lyrical numbers, Italianate arias, but also choruses and sung minuets. Still during the 18th century, two scenes were extracted from it to form the entremez O grande Governador da Ilha dos Lagartos, in which Sancho Pança assumes the governorship of an island. This paper focuses on the process of ‘resurrection’ of this entremez through a carefully-documented project at the Universidade Federal de Goiás, Brazil, which involved a whole range of literary, musical and theatrical tasks, including the identifying, adaptation and performance of suitable music, raising important issues with regard to reconstruction, authenticity and performance practice. Following the 2014 production in Pirenópolis, it received successful performances in Ouro Preto and Belo Horizonte in 2019.
- Immersing educators in senses and artistry through the artistic experience of the online music theatre piece PaPI Opus 8.zPublication . Pereira, Ana Isabel; Rodrigues, Helena; Rodrigues, Paulo Maria; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); Departamento de Ciências Musicais (DCM)Companhia de Música Teatral (CMT)’s artistic-educative constellations model has linked education and artistic practice. The need for immersive training experiences based on the concept of communicative musicality is advocated in this model. That was accomplished in the GermInArte project (2015-2018) and pollinated for the Mil Pássaros project (Thousand Birds). This comprises the musical-theatre piece PaPI-Opus 8.z shared with educators, parents, and children and conceived to be performed by Zoom to family audiences during pandemics. Over thirty online performances were presented between 2020 and 2022 to families with babies and children, kindergarten classes and educators, primary school classes, and children at the hospital. There were spectators from Portugal, Brazil, the USA, Israel, and Spain. The piece is part of z.Lab Thousand Birds, an online training program in arts for childhood that views training as a holistic process that includes the fruition and deconstruction of artistic experiences, such as PaPI-Opus 8.z. The program aims to demonstrate ways to provide educators and teachers with a vivid way to engage in arts during training courses and lifelong learning. Recorded video excerpts that might catalyze educators’ involvement in arts for childhood and their artistry are presented. They illustrate how PaPI-Opus 8.z emphasizes communication experiences. It is possible to relate the overall approach with mother-infant interactions, arguing that arts provide a special attachment and collective intersubjectivity. We deconstruct the piece reflecting on the common ground between art and playfulness in a continuum that involves all senses (despite PaPI-Opus 8. z being presented in Zoom), which is a strong focus in the SenseSquared project. The z.Lab Thousand Birds training program is being improved and expanded in the scope of the SenseSquared project. Future work involves searching for ways to help educators and teachers feed their communicative impulses and “open the gates of their inner musicality.” We argue that educators must have first-person experiences and feel the arts’ benefits. Then they will be ready to share their own experience with children and families.
- Chant books from Lorvão in the National Archives of LisbonPublication . Medina de Seiça, Alberto; Chaves, Zuelma; Departamento de Ciências Musicais (DCM); Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)In 1877, the nunnery of Lorvão closed its doors on centuries of monastic history. Among the remnants of that history, several liturgical manuscripts have survived, some with notation of melodies following the Cistercian tradition of plainchant. These are not simply abstract tokens of standardised ritual practices, rather they signal cultural exchange and bear witness to the life experience of the communities that used them, read them, and relied on them for support and the consolidation of memory. Understanding these books requires, therefore, an ongoing multi-layered approach. Our research has been focused mainly on the liturgical content of the codices (appended provisional inventory). This paper briefly considers the constitution of the library and some topics raised by the context of usage, namely gender issues.
- Composition as Artistic DevicePublication . Alvim, Diogo; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)In this essay I elaborate on different approaches to music composition that show movements of expansion of the music discipline towards the real, lived world. These happen through mechanisms that incorporate what are usually considered extra-musical elements into the musical work. From programme music, to musique concrète, soundscape composition and more recent artistic manifestations that reflect attempts to mean outside the work, this article traverses notions such as autonomy, relational and conceptual music, expansion of the field, and the dispositif to understand how these mechanisms operate. Finally, I will reflect on an artistic device for music creation, that may work as an interface between work and world, giving some examples of my own work.
- Projeto SanfonaPublication . Cranmer, David; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)
- Female Chant Repertoire in Aveiro’s Dominican Convent of Jesus during the Observant Reform (15th Century)Publication . Hoefener, Kristin; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)Founders and patrons, prioresses and sub prioresses, novice mistresses and cantrices, scribes and illuminators: women have shaped, in many ways, the foundation of the Dominican Convent of Jesus in Aveiro, Portugal. The article covers the convent’s musical universe, which one can only reconstruct today through the analysis of an essential collection of chant books produced by the sisters themselves, and the study of conventual buildings and conserved artworks. The chant repertoire of Aveiro’s Dominican sisters is approached by focusing on the local environment of the monastery, Aveiro’s development, and the city’s connections to the Portuguese aristocracy, especially to noble women. Moreover, this article shows how closely the foundation of Aveiro’s new Dominican Convent of Jesus in 1461 is linked to the previous foundation of the Friars Preachers in 1423, Nossa Senhora da Misericórdia, both tied to the Observant reform movement in Portugal. Similarly, as the friars, the sisters established their convent with new buildings, equipment, books, and liturgical practices. To illustrate this process, the last part of the article explores the practices transmitted in the liturgical books, in particular various offices in honor of Mary and female saints. As can be seen, the objective here is not to compare the practices and repertoire with those of other houses or the entire order but instead to concentrate on the microcosm of Aveiro’s convent and its chant repertoire.
- MuSyFIPublication . Santos, Andre C.; Pinto, Helena Sofia; Pereira Jorge , Rui; Correia, Nuno Manuel Robalo; Departamento de Ciências Musicais (DCM); Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); NOVALincs; DI - Departamento de InformáticaMuSyFI is a system that tries to model an inspirationalcomputational creative process. It uses images as sourceof inspiration and begins by implementing a possibletranslation between visual and musical features. Resultsof this mapping are fed to a Genetic Algorithm (GA)to try to better model the creative process and producemore interesting results. Three different musical artifacts are generated: an automatic version, a co-createdversion, and a genetic version. The automatic versionmaps features from the image into musical features nondeterministically; the co-created version adds harmonylines manually composed by us to the automatic version; finally, the genetic version applies a genetic algorithm to a mixed population of automatic and co-createdartifacts.The three versions were evaluated for six differentimages by conducting surveys. They evaluated whetherpeople considered our musical artifacts music, if theythought the artifacts had quality, if they considered theartifacts ’novel’, if they liked the artifacts, and lastly ifthey were able to relate the artifacts with the image inwhich they were inspired. We gathered a total of 300answers and overall people answered positively to allquestions, which confirms our approach was successfuland worth further exploring.
- Alberto Nepomuceno, o pai da canção brasileira de câmara?Publication . Pacheco, Alberto; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)Alberto Nepomuceno (1864-1920) has often been remembered as the “father of Brazilian chamber song”. Likewise, he was credited with having been the first great defender of the Portuguese language in the Brazilian concert music. In the one hundred years of his death, it is opportune to reflect on the veracity or limits of these statements in the light of recent research on the songs produced in Brazil during the long 19th century. It will be possible to conclude that Nepomuceno's songs deserve a prominent place in the history of Brazilian music thanks to their intrinsic qualities and not to an alleged pioneering role in the camera repertoire and in the defense of the vernacular.
- O canto materno na ontogénese da musicalidade comunicativo e da ludicidade humanaPublication . Carvalho, Eduarda; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)