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O cancioneiro musical de Paris: uma nova perspectiva sobre o manuscrito F-Peb Masson 56
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Resumo(s)
A presente dissertação tem como objecto de estudo o manuscrito F-Peb Masson 56, conhecido
como Cancioneiro Musical de Paris, ou simplesmente Cancioneiro de Paris, que contém a maior colecção
portuguesa de música profana do século XVI. Passados quase 50 anos desde a tese de doutoramento de
François Reynaud (1968), que era até agora o único estudo exclusivamente dedicado a este manuscrito e
que permanece inédito, o nosso trabalho apresenta uma descrição detalhada dos seus aspectos formais e do
seu conteúdo, revisitando as questões abordadas pelo musicólogo francês e aprofundando-as à luz das novas
fontes e dos novos conhecimentos no âmbito da musicologia histórica que surgiram nas últimas décadas,
com o objectivo de estabelecer uma base cientificamente sólida e rigorosa de análise e transcrição e, a partir
dela, lançar novas linhas de investigação sobre o conteúdo poético-musical do cancioneiro.
Mais concretamente, este trabalho é composto por um estudo codicológico e paleográfico
aprofundados, com descrição exaustiva de todas as mãos textuais e musicais do cancioneiro, não só das suas
características físicas mas também do seu vocabulário textual e musical; e por um estudo do conteúdo do
cancioneiro, com uma análise da sua estruturação em diferentes secções temáticas, acompanhado de um
volume contendo transcrições rigorosas dos textos poéticos e musicais e respectivo aparato crítico,
incluindo o estabelecimento de novas concordâncias que possibilitaram a identificação de novos autores e
a reconstituição das vozes de algumas peças de que o cancioneiro apenas regista apenas uma voz.
Os dados e conclusões recolhidos nestes estudos permitiram-nos avançar com propostas
fundamentadas de datação do repertório e, pela primeira vez, construir uma cronologia da constituição do
cancioneiro, desde a sua elaboração original às sucessivas intervenções de copistas posteriores. Deste modo,
concluímos que o CANCIONEIRO DE PARIS terá sido elaborado entre 1545-70 e que contém repertório que
vai desde o início do século XVI até meados do mesmo século, o que, tendo em conta propostas recentes
sobre esta matéria, faz deste códice o mais antigo cancioneiro musical português renascentista conhecido.
Apresentamos ainda um estudo das formas poéticas e dos géneros musicais representados no
cancioneiro, e exploramos novas linhas de investigação do repertório musical, concretamente na
identificação de recursos de expressividade musical, que poderão contribuir para uma futura caracterização
mais rigorosa do repertório secular português quinhentista. Abordamos também os aspectos práticos da
escrita musical e da interpretação do repertório do cancioneiro, caracterizando o vocabulário utilizado, que
contribui para o esclarecimento da gramática da notação musical da época e informa os critérios de
transcrição por nos utilizados na edição dos textos musicais.
The subject of this dissertation is the F-Peb Masson 56 manuscript, also known as Cancioneiro de Paris (Paris Songbook), the largest Portuguese source of 16th-century secular music. After almost 50 years since François Reynaud’s doctoral thesis (1968) – which was until now the only research study dedicated exclusively to this manuscript, and which remains unpublished – our essay presents a detailed description of the formal aspects and contents of the cancioneiro, delving deeper into those questions touched on by the French musicologist in the light of new sources and findings in the domain of historical musicology which have surfaced during the last decades, with the aim of establishing a scientifically solid and accurate basis for analysis and transcription and, beyond that point, launching new lines of research on the poeticmusical content of the cancioneiro. In particular, this dissertation consists of a thorough codicological and palaeographical study, with an extensive description of all textual and musical hands of the cancioneiro, not only of their physical characteristics but also of their vocabulary; and also of a study of the contents of the cancioneiro, with an analysis of its thematical sectioning, accompanied by a volume of accurate transcriptions of all poetic and musical texts and its respective critical apparatus, including the establishing of new concordances which allowed us to put forward proposals for the identification of new authors and the reconstitution of the accompanying parts of some compositions which are given in one voice only. The data and conclusions gathered in these studies allowed us to put forward a solidly grounded proposal for the dating of the repertory and, for the first time, build a timeline of the constitution of the cancioneiro, from its original layer to the successive interventions of later scribes. I thus concluded that the Cancioneiro de Paris was composed between 1545-1570 and that it contains repertory from the early to the mid-16th century, which, considering recent proposals on the subject, makes it the earliest Portuguese Renaissance musical songbook known to date. This dissertation also includes a study of the poetic forms and musical genres represented in the cancioneiro; new lines of research on its repertory, namely, the identification of resources of musical expressiveness, are also explored, which may contribute to a future characterization of Portuguese Renaissance secular music. It touches also on practical aspects of the writing and the interpretation of the cancioneiro repertory, describing the musical vocabulary, which contributes to the clarification of the musical notation grammar and informs the transcription criteria used for the edition of the musical texts.
The subject of this dissertation is the F-Peb Masson 56 manuscript, also known as Cancioneiro de Paris (Paris Songbook), the largest Portuguese source of 16th-century secular music. After almost 50 years since François Reynaud’s doctoral thesis (1968) – which was until now the only research study dedicated exclusively to this manuscript, and which remains unpublished – our essay presents a detailed description of the formal aspects and contents of the cancioneiro, delving deeper into those questions touched on by the French musicologist in the light of new sources and findings in the domain of historical musicology which have surfaced during the last decades, with the aim of establishing a scientifically solid and accurate basis for analysis and transcription and, beyond that point, launching new lines of research on the poeticmusical content of the cancioneiro. In particular, this dissertation consists of a thorough codicological and palaeographical study, with an extensive description of all textual and musical hands of the cancioneiro, not only of their physical characteristics but also of their vocabulary; and also of a study of the contents of the cancioneiro, with an analysis of its thematical sectioning, accompanied by a volume of accurate transcriptions of all poetic and musical texts and its respective critical apparatus, including the establishing of new concordances which allowed us to put forward proposals for the identification of new authors and the reconstitution of the accompanying parts of some compositions which are given in one voice only. The data and conclusions gathered in these studies allowed us to put forward a solidly grounded proposal for the dating of the repertory and, for the first time, build a timeline of the constitution of the cancioneiro, from its original layer to the successive interventions of later scribes. I thus concluded that the Cancioneiro de Paris was composed between 1545-1570 and that it contains repertory from the early to the mid-16th century, which, considering recent proposals on the subject, makes it the earliest Portuguese Renaissance musical songbook known to date. This dissertation also includes a study of the poetic forms and musical genres represented in the cancioneiro; new lines of research on its repertory, namely, the identification of resources of musical expressiveness, are also explored, which may contribute to a future characterization of Portuguese Renaissance secular music. It touches also on practical aspects of the writing and the interpretation of the cancioneiro repertory, describing the musical vocabulary, which contributes to the clarification of the musical notation grammar and informs the transcription criteria used for the edition of the musical texts.
Descrição
Palavras-chave
O cancioneiro musical de Paris Manuscrito F-Peb Masson 56 Cancioneiro de Paris Chansonnier Masson Música renascentista ibérica Iberian Renaissance music Música profana Secular music Villancicos and romances