A carregar...
Publicação
Antífonas de Comunhão: Identidade Musical e Litúrgica nas Fontes de Braga e Guimarães do séc. XII ao séc. XVII
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 5.39 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
As antífonas de comunhão são o último género do Próprio da Missa, caracterizando-se por uma riqueza melódica ímpar no que concerne os repertórios eucarísticos. Tomando este objeto de estudo como ponto de partida, a Dissertação aqui apresentada pretende discutir as comunhões encontradas em 81 fontes de cantochão do século XII ao século XVII e preservadas nos arquivos e bibliotecas de Braga e de Guimarães, disponibilizando uma das poucas incursões pelas antífonas de comunhão em Portugal. O contexto de Braga assume-se particularmente pertinente, por um lado por ter sido implantado pela primeira vez, na Sé da cidade, o rito romano-franco que, consequentemente, teve um papel importante na difusão do rito pelo restante território português; e por outro, por se acreditar ter mantido a mesma liturgia local por quase um milénio (com pequenas alterações) – desde o séc. XII até ao segundo Concílio do Vaticano no século XX. O cerne da investigação são nove comunhões-antífonas e respetivos textos que, por motivos históricos, apresentam múltiplas melodias para cada um. Deste modo, este estudo propõe desvendar as transformações do cantochão bracarense ao longo dos séculos em foco, nas regiões de Braga e de Guimarães, comparando-as com as conjunturas ibérica e francesa.
The communion antiphons are the last genre of the Proper of the Mass and are characterized by a melodic richness that is unparalleled in Eucharistic repertoires. Taking this object of study as a starting point, this Dissertation intends to discuss the communions found in 81 plainchant sources from the 12th to the 17th centuries and preserved in the archives and libraries of Braga and Guimarães, providing one of the few incursions into communion antiphons in Portugal. The context of Braga is particularly pertinent, on the one hand because the Franco-Roman rite was first established in the city's cathedral, which consequently played an important role in spreading the rite throughout the rest of Portugal; and on the other, because it is believed to have maintained the same local liturgy for almost a millennium (with minor changes) - from the 12th century until the Second Vatican Council in the 20th century. The core of the research are nine communion-antiphons and their texts which, for historical reasons, have multiple melodies for each one. This study aims to uncover the transformations of plainchant over the centuries (12th – 17th), in the regions of Braga and Guimarães, comparing them with the Iberian and French conjunctures.
The communion antiphons are the last genre of the Proper of the Mass and are characterized by a melodic richness that is unparalleled in Eucharistic repertoires. Taking this object of study as a starting point, this Dissertation intends to discuss the communions found in 81 plainchant sources from the 12th to the 17th centuries and preserved in the archives and libraries of Braga and Guimarães, providing one of the few incursions into communion antiphons in Portugal. The context of Braga is particularly pertinent, on the one hand because the Franco-Roman rite was first established in the city's cathedral, which consequently played an important role in spreading the rite throughout the rest of Portugal; and on the other, because it is believed to have maintained the same local liturgy for almost a millennium (with minor changes) - from the 12th century until the Second Vatican Council in the 20th century. The core of the research are nine communion-antiphons and their texts which, for historical reasons, have multiple melodies for each one. This study aims to uncover the transformations of plainchant over the centuries (12th – 17th), in the regions of Braga and Guimarães, comparing them with the Iberian and French conjunctures.
Descrição
Palavras-chave
Cantochão Antífonas de Comunhão Braga Notação Aquitana Notação Quadrada Plainchant Communion Chants Aquitanian notation Square notation