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Santa Maria de Terena nas Cantigas de Santa Maria: aspetos históricos, políticos e musicais
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As Cantigas de Santa Maria (CSM) são um dos maiores monumentos da cultura
medieval europeia. Trata-se de uma gigantesca coleção de canções devocionais em
galego-português, num total de 419 cantigas (mais um poema introdutório), louvando a
Virgem Maria ou narrando milagres a ela atribuídos. A poesia e música foram
compostas ou recolhidas, aproximadamente entre 1264 e 1284, na corte castelhanoleonesa
de Afonso X, o Sábio, estabelecida em Sevilha. O quarto santuário mais citado
neste conjunto é o de Santa Maria de Terena, resultante de um núcleo de doze cantigas
relatando milagres atribuídos a esta Virgem. Terena é uma pequena vila alentejana,
localizada perto do Alandroal e Estremoz, destacando-se por ser um dos poucos
exemplos de doação régia a uma família nobre, no sul de Portugal, no decorrer do
reinado de D. Afonso III.
As CSM constituem um projeto indissociável da figura do seu mentor, já que ao
narrarem eventos específicos da sua vida e reinado, e ao revelarem outros tantos sobre a
sua personalidade e espiritualidade, funcionam como uma fonte privilegiada
concedendo-nos pistas sobre o autor e a sociedade em que viveu. Neste contexto, é
necessário entender as razões que levaram o rei Sábio a dedicar um conjunto de
milagres a Santa Maria de Terena, naquela que era a mais íntima obra produzida no seu
scriptorium. Tal conjuntura pode ser compreendida a partir das relações existentes entre
os senhores de Terena, a importante família dos Riba de Vizela, e Afonso X. Esta
ligação, que se confirma pela presença de membros desta família na corte do monarca
castelhano entre 1264 - 1284, sugere que a sua relação era afim a uma amizade.
Apesar da sua temática cristã e da língua romance, as CSM são, de facto, um
produto transcultural que, diretamente associado ao programa real de reconquista cristã
no sul, procurava superar as divisões sociais adotando uma forma poética árabeandaluza,
o zajal, como base. Estas mesmas expetativas e influências podem ser
entendidas ao nível do ritmo, refletindo, este breve núcleo, a extraordinária gama de
possibilidades da notação das CSM. A par da utilização convencional dos modos
rítmicos da polifonia parisiense, podem encontrar-se elementos específicos da música
andaluza, que já haviam sido documentados na teoria musical árabe por Al-Fārābī.
A dissertação inclui a edição musical de todas as CSM localizadas em Terena,
com base em edições textuais preparadas por Stephen Parkinson. Aí se pode observar o
papel ativo do editor, quer na definição de ambiguidades de leitura de algumas cantigas,
quer na determinação das alternativas, nomeadamente usufruindo da “elasticidade” da
subdivisão dentro de um período e, por isso, permitindo a variedade métrica.
The Cantigas de Santa Maria (CSM) are one of the greatest monuments of medieval European culture. It is a large collection of devotional songs in galicianportuguese, with a total of 419 cantigas (plus an introductory poem), praising the Virgin Mary or narrating miracles attributed to her. Poetry and music were composed or collected, approximately between 1264 and 1284, in the Castilian-Leonese court of Alfonso X, the Learned, established in Seville. The fourth most quoted sanctuary in this collection is that of Santa Maria de Terena, resulting from a nucleus of twelve songs reporting miracles attributed to this Virgin. Terena is a small village in Alentejo, located near Alandroal and Estremoz, which stands out as one of the few examples of a regal donation to a noble family in the south of Portugal during the reign of Afonso III. The CSM are a project inextricably linked to the figure of its mentor due not only to the narration of specific events of his life and reign, but also to the revelation of other aspects of his personality and spirituality. They function as a privileged source providing clues about the author and the society in which he lived. In this context, it is necessary to understand the reasons that led the Learned to dedicate a set of miracles to Santa Maria de Terena, in what was the most intimate work produced in his scriptorium. This scenario can be understood taking into account the existing relations between the Terena lords, the important family of Riba de Vizela, and Alfonso X. This connection, confirmed by the presence of members of this family in the court of the Castilian monarch between 1264 - 1284, suggests that their relationship was akin to a friendship. In spite of their Christian theme and romance language, the CSM are in fact a cross-cultural product, which in connection with the royal programme of Christian restoration in the south, attempted to surpass social divisions by adopting a poetic Arab- Andalusian form, the zajal, as a model. These same influences can be understood at a rhythmic level reflecting, in this brief core, the extraordinary range of possibilities of the CSM's notation. Alongside the conventional use of the rhythmic modes of Parisian polyphony, one can find specific elements of Andalusian music, which had already been documented in Arabic musical theory by Al-Fārābī. The dissertation includes the musical edition of all the CSM located in Terena, on the basis of textual editions prepared by Stephen Parkinson. There one can testify to the active role of the editor, either in the definition of ambiguities of interpreting some songs or in the determination of alternatives, namely by taking advantage of the “elasticity” of the subdivision within a period and thus allowing metrical variety.
The Cantigas de Santa Maria (CSM) are one of the greatest monuments of medieval European culture. It is a large collection of devotional songs in galicianportuguese, with a total of 419 cantigas (plus an introductory poem), praising the Virgin Mary or narrating miracles attributed to her. Poetry and music were composed or collected, approximately between 1264 and 1284, in the Castilian-Leonese court of Alfonso X, the Learned, established in Seville. The fourth most quoted sanctuary in this collection is that of Santa Maria de Terena, resulting from a nucleus of twelve songs reporting miracles attributed to this Virgin. Terena is a small village in Alentejo, located near Alandroal and Estremoz, which stands out as one of the few examples of a regal donation to a noble family in the south of Portugal during the reign of Afonso III. The CSM are a project inextricably linked to the figure of its mentor due not only to the narration of specific events of his life and reign, but also to the revelation of other aspects of his personality and spirituality. They function as a privileged source providing clues about the author and the society in which he lived. In this context, it is necessary to understand the reasons that led the Learned to dedicate a set of miracles to Santa Maria de Terena, in what was the most intimate work produced in his scriptorium. This scenario can be understood taking into account the existing relations between the Terena lords, the important family of Riba de Vizela, and Alfonso X. This connection, confirmed by the presence of members of this family in the court of the Castilian monarch between 1264 - 1284, suggests that their relationship was akin to a friendship. In spite of their Christian theme and romance language, the CSM are in fact a cross-cultural product, which in connection with the royal programme of Christian restoration in the south, attempted to surpass social divisions by adopting a poetic Arab- Andalusian form, the zajal, as a model. These same influences can be understood at a rhythmic level reflecting, in this brief core, the extraordinary range of possibilities of the CSM's notation. Alongside the conventional use of the rhythmic modes of Parisian polyphony, one can find specific elements of Andalusian music, which had already been documented in Arabic musical theory by Al-Fārābī. The dissertation includes the musical edition of all the CSM located in Terena, on the basis of textual editions prepared by Stephen Parkinson. There one can testify to the active role of the editor, either in the definition of ambiguities of interpreting some songs or in the determination of alternatives, namely by taking advantage of the “elasticity” of the subdivision within a period and thus allowing metrical variety.
Descrição
Palavras-chave
Santa Maria de Terena Cantigas de Santa Maria Afonso X Ramal Riba de Vizela, Zajal