A carregar...
Publicação
Os sons da morte: estudo sobre a sonoridade ritual e o cerimonial fúnebre por D. Maria I, no Brasil e em Portugal (1816-1822)
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 154.53 MB | Adobe PDF | |||
| 100.14 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
A dimensão da espectacularidade que a morte assumiu durante a idade moderna
permitiu aos monarcas europeus, através de um complexo sistema de representações –
do qual se destaca o aspecto sonoro –, a produção de um sofisticado programa artístico
integrado na política de perpetuidade da memória Real, inclusivamente, para os seus
mais distantes súbditos. Essa política visava, em Portugal, a reprodução de modelos
rituais, por todo o reino, associados principalmente a três categorias sonoras básicas:
brônzea (a prática sineira), bélica (o aparato sonoro militar) e musical. A presente tese
visa o estudo sobre as formas com que essas categorias se articulavam ao constituir a
sonoridade ritual dos funerais régios portugueses, desde os sufrágios pela enfermidade
dos monarcas, a administração dos últimos sacramentos, o anúncio público da morte
(bandos), a cerimónia municipal da Quebra dos Escudos, o cortejo fúnebre, as Exéquias,
até ao sepultamento. Apresentaremos como objecto focal as cerimónias realizadas no
Brasil e em Portugal pela morte da rainha D. Maria I, falecida na cidade do Rio de
Janeiro, em 20 de Março de 1816 – o primeiro funeral de um monarca português em
terras brasileiras – e que teve o seu corpo trasladado para Lisboa, em 1822, onde se
realizaram solenemente as suas “segundas exéquias”. Propomos, assim, uma análise
sobre a utilização do som enquanto parte da representação simbólica do poder, sobre a
constituição e difusão de modelos sonoros aplicados ao cerimonial fúnebre português –
através do estudo da sistematização dos toques dos sinos, dos protocolos civis e
militares dedicados às honras fúnebres, da liturgia e do reportório musical destinado a
esse cerimonial – e também sobre o impacto socio-cultural dessas acções, caracterizadas
por sua larga abrangência geográfica.
The dimension of display taken on by death during the modern age has allowed European monarchs, through a complex representational system (of which the sound aspect is highlighted here), to produce a sophisticated artistic programme integrated within a policy of perpetuating the memory of Royalty, including among its most distant subjects. In Portugal, this policy envisaged the reproduction of ritual models throughout the kingdom, associated principally with three basic sound categories: the ‘bronze’ (the practice of ringing bells), the martial (the apparatus of military sound) and the musical. The present thesis approaches the ways in which these categories were articulated to construct the sounds of Portuguese royal funeral rituals, from the intercessions for the sickness of the monarchs, the last rites, the public announcement of death (bandos), the municipal ceremony of the breaking of the shield bearing the deceased monarch’s coat of arms, the funeral procession, to the obsequies and the burial. The focus here is on the ceremonies carried out in Brazil and Portugal for the death of queen Maria I, deceased in Rio de Janeiro on March 20th 1816 – the first funeral of a Portuguese monarch on Brazilian soil – and whose body was transferred to Lisbon, in 1822, where solemn “second obsequies” were undertaken. The aim is to analyse the use of sound as part of the symbolic representation of power, the constitution and diffusion of sound models applied to Portuguese funeral rites through a study of the systematization of the ringing of the bells, civil and military protocols devoted to funeral honours, liturgy, musical repertoire dedicated to these ceremonies and also the sociocultural impact these acts had, characterized by their vast geographical spread.
The dimension of display taken on by death during the modern age has allowed European monarchs, through a complex representational system (of which the sound aspect is highlighted here), to produce a sophisticated artistic programme integrated within a policy of perpetuating the memory of Royalty, including among its most distant subjects. In Portugal, this policy envisaged the reproduction of ritual models throughout the kingdom, associated principally with three basic sound categories: the ‘bronze’ (the practice of ringing bells), the martial (the apparatus of military sound) and the musical. The present thesis approaches the ways in which these categories were articulated to construct the sounds of Portuguese royal funeral rituals, from the intercessions for the sickness of the monarchs, the last rites, the public announcement of death (bandos), the municipal ceremony of the breaking of the shield bearing the deceased monarch’s coat of arms, the funeral procession, to the obsequies and the burial. The focus here is on the ceremonies carried out in Brazil and Portugal for the death of queen Maria I, deceased in Rio de Janeiro on March 20th 1816 – the first funeral of a Portuguese monarch on Brazilian soil – and whose body was transferred to Lisbon, in 1822, where solemn “second obsequies” were undertaken. The aim is to analyse the use of sound as part of the symbolic representation of power, the constitution and diffusion of sound models applied to Portuguese funeral rites through a study of the systematization of the ringing of the bells, civil and military protocols devoted to funeral honours, liturgy, musical repertoire dedicated to these ceremonies and also the sociocultural impact these acts had, characterized by their vast geographical spread.
Descrição
Palavras-chave
D. Maria I Exéquias reais Música fúnebre Brasil Portugal Sonoridade ritual Ritual sounds Funeral music Royal obsequies