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Projeto de investigação
Centre for the Study of the Sociology and Aesthetics of Music
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Viana da Mota
Publication . Beirão, Christine Wassermann; Cymbron, Luísa; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); Departamento de Ciências Musicais (DCM)
Destinies of Manon
Publication . Cachopo, João Pedro; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); University of California Press
Written by Ben Hecht and directed by Jack Conway, Lady of the Tropics (1939) tells the story of Manon DeVargnes (Hedy Lamarr), a young woman of mixed-race who dreams of a life in Paris, and Bill Carey (Robert Taylor), an American bon vivant who falls in love with her. They marry in Saigon in the 1930s, but their return to New York, where Bill resides, is thwarted by Pierre Delaroch (Joseph Schildkraut), an influential local official and businessman who refuses to let her go. The film is loosely based on Antoine François Prévost’s novel Histoire du Chevalier des Grieux et de Manon Lescaut (1731) and features a pivotal scene at the opera, where Manon and Delaroch attend Puccini’s Manon Lescaut. This scene underscores a significant parallel between the cinematic Manon and her operatic counterpart. Examining the film through the lenses of intertextuality, intermediality, gender, race, and stardom, this article argues that the cinematic portrayal of Manon prompts a reinterpretation of her operatic predecessor’s character and destiny, thereby complicating and enriching the debate on the intersection of opera and film. In dialogue with Stanley Cavell, whose claim that cinema inherits opera has greatly influenced this debate, the article positions Lady of the Tropics within a category of films, including Norman Jewison’s Moonstruck (1987) or Istbán Szabó’s Meeting Venus (1991), where a specific opera “enters the substance of a film.” However, unlike Cavell, this article contends that cinema has the potential to dismantle rather than perpetuate the fantasies that connect opera and film via notions of inheritance and destiny. No destiny, I maintain, is preordained—neither Manon’s nor opera’s.
Seis quadros de uma Madeira cosmopolita e rural
Publication . Pinto, Rui Magno; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH); Centro de Estudos Humanísticos da Universidade do Minho (CEHUM)
O presente artigo apresenta uma análise da suite para piano em seis quadros de Eurico Thomaz de Lima, Ilha do Paraíso, composta na Madeira entre finais de 1965 e inícios de 1966, aquando da sua estadia na região na qualidade de Director Artístico dos Cursos de Música e de professor de piano da Academia de Música e Belas-Artes local. São discutidos os contextos que promoveram a criação da obra, os processos composicionais adoptados por Eurico Thomaz de Lima nesta específica suite programática para piano e a sua recepção aquando das estreias no Funchal e Porto, tomando como fontes as críticas da imprensa local. The present article presents an analysis of Eurico Thomaz de Lima’s piano suite in six pictures,Ilha do Paraíso, composed on the island of Madeira between the end of 1965 and the beginning of 1966, during this stay in the region in the quality of Artistic Director of the Music Courses and of piano teacher at the Academia de Música e Belas-Artes da Madeira.Under discussion are the contexts that led to the work’s composition, the compositional processes that Eurico Thomaz de Lima adopted in this specific programmatic suite for piano and its reception at the time of the premières in Funchal and Porto, on the basis of the reviews in the local press.
“Hey… Psst!”
Publication . Freitas, Joana; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)
Sound and music in the festivities held for the canonization of St Ignatius and St Francis Xavier in Portugal, 1622
Publication . Seiça, Alberto Medina de; Centro de Estudos de Sociologia e Estética Musical (CESEM - NOVA FCSH)
On March 12, 1622, Pope Gregory XV solemnly canonized Ignatius of Loyola and Francis Xavier, co-founders of the Society of Jesus. The elaborate festivities held in Rome were replicated in many other locations across the Catholic world. The news of the canonization reached Portugal soon after, sparking an extensive array of celebrations in various cities of the kingdom. These feasts included religious ceremonies, processions featuring allegorical floats and a multitude of participants filling decorated streets. The events also comprised theatrical performances, literary competitions, illuminations, fireworks, and tournaments, as reported in a voluminous “Relação das festas”, published in the same year, 1622. As is customary in this type of literary discourse, the apologetic and propagandistic purpose is overwhelming, although some traces of conflict could emerge within the narrative. Also typical, is the “Relação” clearly giving precedence to the visible, lingering on details that capture the gaze. However, the narrative acknowledges the pervasive presence of sound and music: trumpets and shawms, bells and musket salvoes, flute ensembles and choirs, liturgical litanies and Te Deum laudamus, the clamour of the crowd and cages with singing birds, making the events massively audible. After a brief contextualization of the “Relação das festas”, this presentation aims to explore, in a two-step process, some of the aural (literary) fragments: firstly, by highlighting the main acoustic structures, and secondly, by delving into a specific moment of the soundscape—the solemn procession that occurred on July 3, 1622, in Évora.
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Entidade financiadora
Fundação para a Ciência e a Tecnologia
Programa de financiamento
6817 - DCRRNI ID
Número da atribuição
UIDB/00693/2020