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A modinha e géneros relacionados desde as suas origens até 1833
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Resumo(s)
tese aqui apresentada dedica-se ao tema das canções em língua portuguesa
denominadas genericamente de modinhas e que se desenvolveram em Portugal e no Brasil
nos séculos XVIII e XIX. Mais do que comentar esses produtos culturais com base na vária
bibliografia existente e nas fontes indirectas da época, pretendeu-se extrair imagens globais e
perspectivas sintéticas a partir das tendências maioritárias que emergem da análise
comparativa das fontes musicais.
A principal ferramenta de pesquisa em que este estudo se baseia é uma base de dados
criada para o efeito (em formato excel) e que pretendeu tratar um grande número de fontes
musicais deste repertório específico (algumas delas ainda não abordadas na bibliografia
existente). A base de dados (com, aproximadamente, novecentos registos analisados segundo
uma grelha com vinte e um campos) constitui-se pela descrição das várias peças musicais
recolhidas e serviu, posteriormente, para levar a cabo vários tipos de análise musical e
poética, a maior parte de base estatística. Registaram-se várias características das canções sob
análise, como sejam a autoria, número de vozes, instrumentação, tonalidade, entre outras, e
foi dada especial importância à descrição dos poemas musicados, em especial no que toca à
sua estrutura rimática, divisão estrófica, presença de estribilho e quanto aos padrões métricos.
Procurou-se estabelecer uma contextualização do fenómeno da modinha no âmbito
luso-brasileiro, mas também europeu. Num contexto mais alargado, salientaram-se aspectos
comuns entre estas canções portuguesas e outras formas aparentadas muito disseminadas em
vários países europeus, como sejam a romance, a canzonetta, a seguidilla, o notturno, entre
outras, assim como a circulação destes repertórios entre vários âmbitos (salão, teatro público)
e sob várias formas (manuscritos, publicações impressas, publicações periódicas). Essa
circulação foi, também, discutida no âmbito particular do mundo luso-brasileiro: o
conhecimento das formas europeias e sua circulação, em conjunto com a análise do seu
contexto particular serviu para comparações com a realidade luso-brasileira, identificando
nessa realidade mecanismos e processos que possam não estar muito aparentes pela escassez
de fontes históricas que tem condicionado bastante o estudo deste tema. A contextualização
que se fez do panorama luso-brasileiro permitiu, também, relacionar a prática da modinha
com as práticas poéticas de entretenimento da época, estabelecendo ligações entre estes
modos de criação literária fugaz com a produção de modinhas e englobando-as num mesmo
espaço abrangente de entretenimento social urbano-burguês.
O estudo completa-se também com a discussão de abordagens de ordem prática à
execução musical deste repertório tendo como base a minha própria experiência como
intérprete deste vasto e cativante conjunto de canções.
The present dissertation is centred in the study of the so-called modinhas, portuguese texted songs that developed in Portugal and Brazil in the 18th and 19th century. More than discuss these cultural products based on the diverse existing literature devoted to the subject and the indirect sources of the time, the aim of this research was to create a synthetic perspective from the comparative analysis of the musical sources. The main tool for the research was the creation of a specific database (in excel format) that would describe a great number of musical sources (some of them not yet discussed in previous studies). The database (with approximately nine-hundred entries analyzed through a grid of twenty-one fields) consists of a thorough description of the various musical pieces that were gathered and, afterwards, used as a mean to conduct musical and poetic analysis, mostly of a statistical nature. Several features of the songs were registered, like authorship, number of voices, instrumentation and types of accompaniment, among other, and special attention was given to the treatment of the poems that are set to music, particularly concerning their rhyming structure, strophic division, existence of refrain, and metric divisions used. An attempt was made to build a strong contextualization of the modinha phenomenon in the luso-brazilian scope, but also in a european range. In the wider outlook, common aspects between these Portuguese songs and their counterparts in other European cultures – like the romance, canzonetta, seguidilla, notturno, among others –were underlined, along with describing the circulation of these repertoires between several contexts (domestic salon, public theater) and through several media (manuscripts, publications – some of them periodical). That multi-directional circulation was also discussed in the particular scope of Portugal and its brazilian colonies. Knowledge of European forms and their circulation, together with the analysis of their particular context of development was applied in comparative research in the specific terrain of modinhas. In this manner it was possible to identify similar processes that are not too apparent due to lack of historical material. The wide description of the luso-brazilian context was also crucial to establish connections between the modinha phenomenon, and its praxis, and the poetic entertainments of the time which was often of improvisatory nature. These literary games and the modinha creation and performance were all part of the same world of social entertainment that characterized certain urban and bourgeois populations. The study is also completed with the discussion of practical approaches to the modern performance of this repertoire based upon my particular experience as a musician devoted to present this vast and captivating corpus of songs.
The present dissertation is centred in the study of the so-called modinhas, portuguese texted songs that developed in Portugal and Brazil in the 18th and 19th century. More than discuss these cultural products based on the diverse existing literature devoted to the subject and the indirect sources of the time, the aim of this research was to create a synthetic perspective from the comparative analysis of the musical sources. The main tool for the research was the creation of a specific database (in excel format) that would describe a great number of musical sources (some of them not yet discussed in previous studies). The database (with approximately nine-hundred entries analyzed through a grid of twenty-one fields) consists of a thorough description of the various musical pieces that were gathered and, afterwards, used as a mean to conduct musical and poetic analysis, mostly of a statistical nature. Several features of the songs were registered, like authorship, number of voices, instrumentation and types of accompaniment, among other, and special attention was given to the treatment of the poems that are set to music, particularly concerning their rhyming structure, strophic division, existence of refrain, and metric divisions used. An attempt was made to build a strong contextualization of the modinha phenomenon in the luso-brazilian scope, but also in a european range. In the wider outlook, common aspects between these Portuguese songs and their counterparts in other European cultures – like the romance, canzonetta, seguidilla, notturno, among others –were underlined, along with describing the circulation of these repertoires between several contexts (domestic salon, public theater) and through several media (manuscripts, publications – some of them periodical). That multi-directional circulation was also discussed in the particular scope of Portugal and its brazilian colonies. Knowledge of European forms and their circulation, together with the analysis of their particular context of development was applied in comparative research in the specific terrain of modinhas. In this manner it was possible to identify similar processes that are not too apparent due to lack of historical material. The wide description of the luso-brazilian context was also crucial to establish connections between the modinha phenomenon, and its praxis, and the poetic entertainments of the time which was often of improvisatory nature. These literary games and the modinha creation and performance were all part of the same world of social entertainment that characterized certain urban and bourgeois populations. The study is also completed with the discussion of practical approaches to the modern performance of this repertoire based upon my particular experience as a musician devoted to present this vast and captivating corpus of songs.
Descrição
Palavras-chave
Modinha Lundum Portugal Brasil Palomino Caldas Barbosa Redondilha Improvisação Estrofe Música doméstica Publicações periódicas Jornal de modinhas Improvisation Roundel Estrofe Domestic music Music periodicals