FCSH: INET-MD - Documentos de conferências internacionais
URI permanente para esta coleção:
Navegar
Entradas recentes
- Music Teaching and Didactic Materials at the Real Seminário da Patriarcal of Lisbon (1713-1834)Publication . Dias, João Alexandre; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)The primary mission of the Portuguese institution Real Seminário da Patriarcal of Lisbon (1713- 1834) was to train skilled musicians for the Patriarchal Church and Royal Chapels. However, its pedagogical impact was much broader. The institution welcomed many of the leading Portuguese composers of the 18th century, as well as numerous musicians who later held significant positions in various Luso-Brazilian institutions. The Italian composer David Perez (Naples, 1711 – Lisbon, 1778), who had studied at the Neapolitan Conservatory of Santa Maria di Loreto and enjoyed great European celebrity in his lifetime, was hired in 1752 by King Joseph I of Portugal and came to Lisbon, where he held the post of Composer of the Royal Chamber and Master of the Royal Princesses. David Perez was never officially Master of Music of the Real Seminário da Patriarcal, but he composed various didactic materials that were widely used for training students of this institution and were widely disseminated in Portugal as well as in Europe. These include Partimenti (called Regras de Acompanhar) and Solfeggio’s. This presentation aims to give an overview of David Perez's didactic sources in Portugal ― particularly the Regras de Acompanhar ―, trying to understand the place of his pedagogical materials in music teaching, and to investigate the impact of methodologies acquired in the Neapolitan conservatories on other didactic sources produced by Portuguese composers, mainly teachers and students of the Real Seminário da Patriarcal.
- La guerra civil española en la fronteraPublication . Simões, Maria Dulce; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)
- Music, dance, and health in Maracatu de baque solto performances (Brazil)Publication . Bonini Baraldi, Filippo; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)The relation between music, health, and culture is currently an important subject of ethnomusicological research (for a review, see Koen et al., 2008). Communities from around the globe have developed countless local practices to heal people, prevent illness, or enhance well-being by using sounds and music. These practices are generally ritualized and involve symbolic, religious, and emotional meanings that culminate in expressive strategies for playing together that differ from those in Western culture. Maracatu de baque solto is a Carnival performance-ritual occurring in the Zona da Mata Norte region of Pernambuco state (Brazil) and strongly associated with the afro-indigenous worship known as Umbanda-Jurema (Garrabé 2010, Teixeira 2018). While other musical expressions from Pernambuco have recently attracted the interest of musicians and ethnomusicologists, Maracatu de baque solto has remained a local and relatively understudied cultural practice. Before and during Carnival, Maracatu performers feel exposed to various types of diseases. According to the local beliefs, illness is caused by the “envious eye” (olho grande) of their rivals, which may arouse invisible negative entities. In order to perform safely, performers need therefore to “close their body” (fechar o corpo). This expression is synonymous with a protected, powerful, and healthy body, while an “open body” (corpo aberto) refers to a vulnerable one, susceptible to the attacks of negative entities (Bonini Baraldi 2021). Previous field research in the Zona da Mata region allowed me to advance the following hypothesis: besides the various rituals done in order to “close the body” and “close the Maracatu,” the aesthetic elements of Maracatu (music, dance, costumes, improvised poetry) are conceived of as protective devices against the dangerous effects of rivals’ envy. Specifically, the protective function of Maracatu performances is effective when musicians and dancers interact in tight coordination, or “consonance” (consonância), and thus “lock” (fechar) – acoustically and choreographically – the group. Relying on field and laboratory audio-visual recordings of Maracatu music and dance, I will describe how this fundamental concern is achieved.
- Frontera, memorias y resistenciasPublication . Simões, Dulce; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)
- Alessandro Scarlatti’s chamber cantatas in PortugalPublication . Fernandes, Cristina; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)Domenico Scarlatti’s relationship with the royal court of John V of Portugal, as well as the privileged master-disciple relationship he established with Maria Bárbara of Braganza, are well-known facts of musical historiography. On the contrary, the ties that linked his father, Alessandro Scarlatti, to Portugal have remained in the shadows and have only recently begun to emerge from some studies. However, Alesandro Scarlatti was one of the favorite composers of Portuguese diplomats in Rome, such as ambassador André de Melo e Castro and cardinal Nuno da Cunha e Ataíde, who chose his music for several events they promoted during their missions in the Pontifical City and commissioned works from him. Unfortunately, several of these scores were lost,but in Portugal some sources testify the circulation of Alessandro’s output and the taste for his music. Beyond the autograph of the responsory "O Magum Mysterium", that belongs to the Lisbon cathedral archive, volumes with chamber cantatas and a few loose pieces (arias and duets that are part of manuscript anthologies from the 1720s) subsist in Portuguese archives and libraries. These include also music by other composers highly appreciated in Lisbon, such as Giovanni Bononcini and Emanuele d’Astorga. Starting from a synthesis and a reassessment of the place of Alessandro Scarlatti’s music in the Portuguese context, this paper intends to provide a description and analysis of the collections of cantatas for solo voice and basso continuo held in the Biblioteca Nacional de Portugal and the Biblioteca-Arquivo do Paço Ducal de Vila Viçosa. In dialogue with other historical documents, possible contexts of performance will also be addressed: from the royal court and aristocratic circles to their use in pedagogical practice, once some of the copies belonged to the Royal Patriarchal Seminary of Music and were afterwards inherited by the conservatory.
- Multi-modal Recordings of Maracatu de Baque Solto (Brazil)Publication . Baraldi, Filippo; Davies, Matthew Edward Price; Viana, André; Tercio, Daniel; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)
- It’s a type of song with a special characterPublication . Thomas Almeida, Inês; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)
- Imaginary SoundscapesPublication . Thomas Almeida, Ines; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)
- El cante patrimonializado en la geografía del olvidoPublication . Simões, Maria Dulce; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)
- Religious music and the construction of the image of royaltyPublication . Fernandes, Cristina; Instituto de Etnomusicologia - Centro de Estudos em Música e Dança (INET-MD - NOVA FCSH)During the early modern period, religious music played a crucial role in constructing the public image of the absolute monarchy, both as a form of emphasizing the devotion of the sove- reigns and as a means of reaffirming the legitimacy of divine origin that justified the exercise of political power. With different configurations in the various European courts, the so called religious music of state or “apparatus” music constituted a sophisticated tool of symbolic representation of royalty, thanks to its ability to potentiate the increasingly theatrical character of the liturgical ceremonial and to engage the king himself as an active part of the ritual. In this perspective, the relationship that the successive Portuguese ruling sovereigns established with sacred music during the 18th century will be analyzed not only at the institutional level, through the Royal and Patriar- chal Chapels, but also at the individual level, that is with regard to issues like “taste” and personal devotions. It is also intended to demonstrate that the usual stereotyped vision that attributes an exacerbated religiosity to king João V and to queen Maria I, as opposed to king José’s passion for opera, constitutes, after all, a much more complex and nuanced reality, which gains new dimen- sions when compared to the centrality assumed by other European Royal Chapels in the sonorous representation of royal power. In relation to each of the monarchs, the role of religious music in dinastic ceremony and daily liturgy, as well as in personal devotions, will be addressed taking into account features such as spaces; the intervention of the members of the royal family in the orga- nization of musical practice (directly or through intermediaries); the musicians; the repertoires; and the performance practices. This makes possible a comparative study that involves not only the different personalities and the political, religious and cultural context of each reign, but also the aesthetic changes that take place in the musical language over time. Given the broad scope of the subject, the study will be centered in a selection of emblematic ceremonies, from the liturgical calendar and the “days of Gala” at court, and will provide a representative set of musical examples (Mass, Motetes, Te Deum, Responsories, Lamentations, Psalms, etc.) by Portuguese and foreign composers.
- «
- 1 (current)
- 2
- 3
- »