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Lopes-Graça and the Concept of “National Music”
Politics of Identity and Counter-Hegemony: Lopes-Graça and the Concept of “National Music” MÁRIO VIEIRA de CARVALHO The idea of “national music” plays a paramount role in the theory and praxis of the Portuguese composer Fernando Lopes-Graça (1906-1994), who was confronted with it in the 1920s, when ‘nationalism’ increasingly influenced different ideological discourses and became entangled in arts and music. In this paper, I begin with a brief historical retrospective in order to situate the “position” of Lopes- Graça and discuss the circumstances in which he first joined the mainstream, then radically broke with it, and finally developed what I call a counter-hegemonic “politics of identity,” 1 based on a particular concept of “national music”: a concept not yet given , but still to be constructed. Lopes-Graça was able to inscribe this concept within a broader strategy of cultural resistance against the Estado Novo (the “New State”), including alternative, counter-hegemonic structures of communication. The sentiment of decadence and nationalism In Portugal, the turn to “musical nationalism” dates back to the end of the 19th century, with the pianist and composer José Viana da Mota (1868–1948) and the composer Alfredo Keil (1850–1907). 2 It coincides, on the one hand, with a prevailing sense that Portugal had lapsed into decadence, aroused by the colonial crisis and the British ultimatum (1890) concerning certain Portuguese territorial ambitions in Africa, and, on the other hand, with the rise of the Republican movement, which had grown in influence since 1880 as a “patriotic” alternative to the establishment. The fanfare of the last section—Ressurgimento (‘Resurgence’)—of the Symphony “ à Pátria ” (dedicated to the homeland), written by Viana da Mota in 1895 (immediately after his entry into Freemasonry), seems to anticipate the Republican victory of 1910. -
ATINER's Conference Paper Proceedings Series ARC2017
ATINER CONFERENCE PRESENTATION SERIES No: ARC2017-0106 ATINER’s Conference Paper Proceedings Series ARC2017-0106 Athens, 28 September 2018 Scenographic Interventions in Portuguese Romantic Architecture Luís Manuel Lourenço Sêrro Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10683 Athens, Greece ATINER’s conference paper proceedings series are circulated to promote dialogue among academic scholars. All papers of this series have been blind reviewed and accepted for presentation at one of ATINER’s annual conferences according to its acceptance policies (http://www.atiner.gr/acceptance). © All rights reserved by authors. 1 ATINER CONFERENCE PRESENTATION SERIES No: ARC2017-0106 ATINER’s Conference Paper Proceedings Series ARC2017-0106 Athens, 28 September 2018 ISSN: 2529-167X Luís Manuel Lourenço Sêrro, Associate Professor, Lusíada University, Portugal. Scenographic Interventions in Portuguese Romantic Architecture ABSTRACT When Kant established the noumenon1 as the limit of knowledge in his Critique of Judgment, he set off a reaction among the most distinguished philosophers of the infinite: Fischte, Schilling, and Hegel. This consciousness of the infinite and its analysis through the feeling of the sublime was the basis of all European Romanticism, as well as of the artistic currents that flowed from it. Although the theme of the sublime has been studied since Longinus, it was Hegel who extended the concept through the analysis of space and time in his The Philosophy of Nature, because nature as de-termination2 of the idea necessarily falls in space and time.3 Consequently, the artistic achievement of that era could only be a figurative representation of the sublime and the integration of all arts in a whole with the purpose of awakening the feeling of Gesamtkunstwerk. -
Sources for the History of Art Museums in Portugal» Final Report
PROJETHA Projects of the Institute of Art History Sources for the History of Art Museums in Portugal [PTDC/EAT-MUS/101463/2008 ] Final Report PROJETHA_Projects of the Institute of Art History [online publication] N.º 1 | «Sources for the History of Art Museums in Portugal» _ Final Report Editorial Coordination | Raquel Henriques da Silva, Joana Baião, Leonor Oliveira Translation | Isabel Brison Institut of Art History – Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa | 2013 PROJETHA_ Projects of the Institute of Art History SOURCES FOR THE HISTORY OF ART MUSEUMS IN PORTUGAL CONTENTS Mentioned institutions - proposed translations _5 PRESENTATION | Raquel Henriques da Silva _8 I. PARTNERSHIPS The partners: statements Instituto dos Museus e da Conservação | João Brigola _13 Museu Nacional de Arte Antiga | António Filipe Pimentel _14 Art Library of the Calouste Gulbenkian Foundation | Ana Paula Gordo _15 II . THE TASKS TASK 1. The origins of the Galeria Nacional de Pintura The origins of the Galeria Nacional de Pintura | Hugo Xavier _17 TASK 2. MNAA’s historical archives database, 1870-1962 The project “Sources…” at the Museu Nacional de Arte Antiga | Celina Bastos e Luís Montalvão _24 Report of the work undertaken at the Archive of the Museu Nacional de Arte Antiga. Research Fellowship | Andreia Novo e Ema Ramalheira _27 TASK 3. Exhibitions in the photographic collection of MNAA . The Photographic Archive at the Museu Nacional de Arte Antiga. A historical sketch | Hugo d’Araújo _35 TASK 4. Inventory and study of the “Arrolamentos” of the Royal Palaces of Necessidades and Ajuda. The project “Sources…” at the Palácio Nacional da Ajuda | PNA _52 Report of the work undertaken at the Palácio Nacional da Ajuda. -
Special List 377 1
special list 377 1 RICHARD C.RAMER Special List 377 One-Hundred Thirty-Two Books and Pamphlets Recently Catalogued 2 RICHARDrichard c. C.RAMER ramer Old and Rare Books 225 east 70th street . suite 12f . new york, n.y. 10021-5217 Email [email protected] . Website www.livroraro.com Telephones (212) 737 0222 and 737 0223 Fax (212) 288 4169 June 15, 2020 Special List 377 One-Hundred Thirty-Two Books and Pamphlets Recently Catalogued Items marked with an asterisk (*) will be shipped from Lisbon. SATISFACTION GUARANTEED: All items are understood to be on approval, and may be returned within a reasonable time for any reason whatsoever. VISITORS BY APPOINTMENT special list 377 3 CATALOGUING IN A PANDEMIC Hunkered down in a New York City apartment, with little else to do, around mid-March this year I began to try to make a dent in the many hundreds of items, some books but mostly pamphlets, which had only “bare bones” descriptions, and were not listed by us for sale anywhere online. This list of 132 such items is a start. Most of these items had been purchased in Portugal during the 1970s and early 1980s, when there was an abundance of interesting material on the market for extremely reasonable prices. On the other hand, it was much more challenging to catalogue them in those days, as we were acquiring stock in large quantities, and did not have computers or even word processers, nor did we have access to the internet. As cost was negligible, and we wish to encourage business in these difficult times, the pricing of the 132 items in this list is reasonable, ranging from $12 to $400. -
History, Nation and Politics: the Middle Ages in Modern Portugal (1890-1947)
History, Nation and Politics: the Middle Ages in Modern Portugal (1890-1947) Pedro Alexandre Guerreiro Martins Tese de Doutoramento em História Contemporânea Nome Completo do Autor Maio de 2016 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em História Contemporânea, realizada sob a orientação científica do Professor Doutor José Manuel Viegas Neves e do Professor Doutor Valentin Groebner (Kultur- und Sozialwissenschaftliche Fakultät – Universität Luzern) Apoio financeiro da FCT (Bolsa de Doutoramento com a referência SFRH/BD/80398/2011) ACKNOWLEDGMENTS In the more than four years of research and writing for this dissertation, there were several people and institutions that helped me both on a professional and personal level and without which this project could not have been accomplished. First of all, I would like to thank my two supervisors, Dr. José Neves and Dr. Valentin Groebner. Their support in the writing of the dissertation project and in the discussion of the several parts and versions of the text was essential to the completion of this task. A special acknowledgment to Dr. Groebner and to the staff of the University of Lucerne, for their courtesy in receiving me in Switzerland and support in all scientific and administrative requirements. Secondly, I would like to express my gratitude to all professors and researchers who, both in Portugal and abroad, gave me advice and references which were invaluable for this dissertation. I especially thank the assistance provided by professors Maria de Lurdes Rosa, Bernardo Vasconcelos e Sousa (FCSH-UNL) and David Matthews (Uni- versity of Manchester), whose knowledge of medieval history and of the uses of the Middle Ages was very important in the early stages of my project. -
Banda Sinfónica Portuguesa
PORTUGUESA PORTUGUESE SYMPHONIC WIND BAND BIOGRAFIAS E NOTAS DE PROGRAMA BIOGRAPHYS AND PROGRAM NOTES A edição do presente CD surge na sequência do desenvolvimento de um projecto em fase de completar o seu 5º aniversário a propósito do qual se poderia dissecar um infinito de reflexões. Volvidos quase cinco anos, assumo na íntegra a responsabilidade artística do trabalho desenvolvido pela Banda Sinfónica Portuguesa com a colaboração inexcedível de um conjunto de músicos e de uma direcção administrativa competente que, dia após dia, vêm a acreditar na sua consolidação. Com efeito, considero que se trata de um projecto peculiar para Portugal, indispensável ao nosso tecido cultural, que deve ser acolhido, com os necessários apoios, como o motor de integração profissional de jovens exímios instrumentistas que tantos anos dedicam à sua formação instrumental, num país onde escasseiam, em larga escala, as orquestras profissionais. Este álbum pretende ainda retratar o trabalho de alguns jovens compositores portugueses, difundindo obras que se espera virem a fazer parte do nosso património musical para orquestra de sopros. A este respeito, a riqueza tímbrica deste género de formação é ímpar e sempre fonte de inspiração para quem escreve para ela. Poderemos ainda apreciar nele o virtuosismo técnico e sonoro do tubista Sérgio Carolino que patenteia bem a realidade de um novo mundo musical associado ao talento do saxofonista Mário Marques e da coesão do Quarteto de Saxofones do Porto. Se tivermos em linha de conta que o Hino Nacional “A Portuguesa” é hoje um símbolo que toca no coração de cada um de nós sempre que o escutamos, sem que o seu autor tenha seguramente imaginado que tal viesse a acontecer um dia, acredito veemente que a Banda Sinfónica Portuguesa venha a ser um marco da nossa cultura reconhecido por todos aqui e além fronteiras, dignificando deste modo todo o valor sociocultural que ela insere. -
Anthems and Flags of the European Union
UNITED IN DIVERSITY: ANTHEMS AND FLAGS OF THE EUROPEAN UNION Pierre-Robert Cloet Bénédicte Legué Kerstin Martel Foreword by António Vitorino DECEMBER 2013 STUDIES & REPORTS 102 UNITED IN DIVERSITY: ANTHEMS AND FLAGS OF THE EUROPEAN UNION Pierre-Robert Cloet Bénédicte Legué Kerstin Martel Foreword by António Vitorino United in diversity: Anthems and flags of the European Union TABLE OF CONTENTS FOREWORD by António Vitorino 8 EXECUTIVE SUMMARY 11 INTRODUCTION NATIONAL ANTHEMS AND FLAGS OF EUROPE 13 CHRONOLOGY 15 NATIONAL ANTHEMS OF THE EU COUNTRIES 17 1. The Anthem of the European Union 19 2. Tribute to Monarchy 20 2.1. Danish National Anthems 20 2.2. The Dutch National Anthem 23 2.3. Swedish National Anthems 25 2.4. The British National Anthem 27 3. Tribute to homeland and the people 29 3.1. The Belgian National Anthem 29 3.2. The Hungarian National Anthem 32 3.3. The Italian National Anthem 33 3.4. The Latvian National Anthem 35 3.5. The Lithuanian National Anthem 37 3.6. The Luxembourger National Anthem 38 3.7. The Slovakian National Anthem 41 United in diversity: Anthems and flags of the European Union 4. Praise to the beauty of the country 43 4.1. The Austrian National Anthem 43 4.2. The Bulgarian National Anthem 45 4.3. The Croatian National Anthem 46 4.4. The Estonian National Anthem 49 4.5. The Finnish National Anthem 50 4.6. The Czech National Anthem 52 5. Martial Anthem 54 5.1. The French National Anthem 54 5.2. The Irish National Anthem 56 5.3. -
Anthems and Flags of the European Union
UNITED IN DIVERSITY: ANTHEMS AND FLAGS OF THE EUROPEAN UNION Pierre-Robert Cloet Bénédicte Legué Kerstin Martel Foreword by António Vitorino DECEMBER 2013 STUDIES & REPORTS 102 UNITED IN DIVERSITY: ANTHEMS AND FLAGS OF THE EUROPEAN UNION Pierre-Robert Cloet Bénédicte Legué Kerstin Martel Foreword by António Vitorino United in diversity: Anthems and flags of the European Union TABLE OF CONTENTS FOREWORD by António Vitorino 7 EXECUTIVE SUMMARY 10 INTRODUCTION - NATIONAL ANTHEMS AND FLAGS OF EUROPE 12 CHRONOLOGY 14 NATIONAL ANTHEMS OF THE EU COUNTRIES 16 1. The Anthem of the European Union 18 2. Tribute to Monarchy 19 2.1. Danish National Anthems 19 2.2. The Dutch National Anthem 22 2.3. Swedish National Anthems 24 2.4. The British National Anthem 26 3. Tribute to Homeland and the People 28 3.1. The Belgian National Anthem 28 3.2. The Hungarian National Anthem 31 3.3. The Italian National Anthem 32 3.4. The Latvian National Anthem 34 3.5. The Lithuanian National Anthem 36 3.6. The Luxembourger National Anthem 37 3.7. The Slovakian National Anthem 40 United in diversity: Anthems and flags of the European Union 4. Praise to the Beauty of the Country 42 4.1. The Austrian National Anthem 42 4.2. The Bulgarian National Anthem 44 4.3. The Croatian National Anthem 45 4.4. The Estonian National Anthem 48 4.5. The Finnish National Anthem 49 4.6. The Czech National Anthem 51 5. Martial Anthem 53 5.1. The Spanish National Anthem 53 5.2. The French National Anthem 54 5.3. -
Works for Piano and Orchestra by Portuguese Composers
WORKS FOR PIANO AND ORCHESTRA BY PORTUGUESE COMPOSERS by Marta Maria Capaz Assunção da Cunha Menezes Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Arnaldo Cohen, Research Director, Chair ______________________________________ Evelyne Brancart ______________________________________ Jean-Louis Haguenauer January 26, 2020 ii Copyright © 2020 Marta Menezes iii To my dear mentor, Miguel Henriques, that has always inspired and keeps inspiring my musical and artistic journey iv Acknowledgements I want to express my gratitude to Professor Arnaldo Cohen for his support regarding this essay and for his guidance throughout my doctoral studies at Indiana University. I would like to thank the other committee members, the former Professor Edmund Battersby and Dr. Karen Shaw, who unfortunately are no longer with us, and Professors Evenlyne Brancart and Jean-Louis Haguenauer for being a part of my studies at this final stage. I want to thank Miguel Campinho for all his advice and for always being available to help and to provide useful information and suggestions throughout my research. I also want to give a special thanks to João Pedro Mendes dos Santos for his help and availability, and for granting me access to his valuable private collection. I too am grateful to Nuno Fernandes, editor at AvA Musical Editions, for allowing me the access to all edited scores of the piano concertos. -
Music, Theatre and the Nation: the Entertainment Market in Lisbon (1865–1908)
Newcastle University School of Arts and Cultures Music, theatre and the nation: The entertainment market in Lisbon (1865–1908) João Luís Meireles Santos Leitão da Silva Submitted in fulfilment of the degree of Doctor of Philosophy September 2011 Abstract My thesis concentrates on the study of the symbolic construction of the Portuguese nation and the field of popular entertainment between 1865 and 1908, concentrating on various musical practices and their association with a changing theatrical panorama. It addresses the emergence of new forms of music theatre (the operetta and the revista) played a key role in creating a privileged space for the display and representation of modernity, a process in which the notion of the cultural nation-state was embedded. The establishment of a bourgeois public sphere induced relevant changes in the cultural market in Portugal during the period of this thesis, when several journalistic typologies that relied on industrial mechanised processes of production and focused on the actual narration of facts emerged. Moreover, this thesis examines the theatrical life in Lisbon in a period when the processes of urban expansion were closely associated with paradigms of modernity as it was perceived at the time, producing new spaces in the urban fabric. This theses also addresses the presence of an articulated system for the dissemination of musical commodities (such as postcards, sheet music or sound recordings) and the role the commodity form played in that system, striving to portray that phenomenon as a process in which aspects such as technology, class, and gender were embedded. Furthermore, my thesis examines the development of a heterogeneous network of approaches and disciplines that were being established with scientific intents that contributed to the reshaping the coeval perspectives of Portugal as a symbolic nation-state, in which the collection and publication of music from predominantly rural contexts was integrated. -
Cultural Identity in Portuguese Architecture
University of Salford School of Construction and Property Management Faculty of Business and Informatics "Letter to Raul Lino" Cultural Identityin PortugueseArchitecture The "Inqudrito" and the Architecture of its Protagonists in the 1960's Appendix I Testimonies RodrigoOllaro °'_1 Universidade Lusiada - 2001 "Letter to Raul Lino" The Cultural Identity in the PortugueseArcMtecture The "Inquirito" and the Architecture of its Protagonists in the 1960's Acknowledgements When someonebegins an investigation, with the objectives that it is proposed to, it seemed indispensable, besides examining the usual information sources, also intellectuals performing direct contacts with acaden-&S, and artists, who, due to their specializationhave establishedsome relation with the subject concerning the centre of the theme. Effectively, the set of personalitiesthat had graciously agreed to concede a statement about the "The Cultural Identity: The Importance of the Identity in the Portuguese Architecture", in form of interview, the intellectual profile of these personalities is admittedly of the highest standard, this provided that remarkable reflections were collected on this subject. in have The conceptsand ideasthat are present them come not only to guaranteethat the in way that was to be opened has made sense the whole cultural moment, but also to indicate changes and emphasize certain aspects particularly significant of this Problematic. help Due to the generous availability, enrichment, and that these personalities have is hereby. brought to this work, profound gratitude expressed Salford, 2001 Rodrigo Ollero "Letter to Raul Lino" Cultural Identity in the PortugueseArchitecture The "Inquirito" and the Architecture of its Protagonists in the 1960's TESTIMONIES Contents I d 1 ntro ucti on ..................................................................................... Introduction text 2 Interview ............................................................................................... -
The Depósito De Degredados in Luanda, Angola: Binding and Building the Portuguese Empire with Convict Labour, 1880S to 1932
IRSH 63 (2018), Special Issue, pp. 151–167 doi:10.1017/S0020859018000263 © 2018 Internationaal Instituut voor Sociale Geschiedenis The Depósito de Degredados in Luanda, Angola: Binding and Building the Portuguese Empire with Convict Labour, 1880s to 1932 T IMOTHY J. COATES History Department, The College of Charleston 66 George Street, Charleston, SC 29424, USA E-mail: [email protected] ABSTRACT: After ignoring its holdings in Africa for the first half of the nineteenth century, the European scramble for colonies in the 1880s forced the Portuguese state to adopt a new policy to cement its tenuous hold on its two largest African colonies: Angola and Mozambique. This challenge occurred just as the penal reform movement of the nineteenth century was arriving in Portugal, with a new penitentiary in Lisbon and new legal codes aimed at reforming convicts through their labour. This article examines the rationale and impact of the Depósito de Degredados (Depot for Transported Convicts) in Luanda, Angola, the larger of the two prisons established to supervise the work of convicts sent from Portugal and Portugal’s Atlantic colonies of Cape Verde, Portuguese Guinea, and São Tomé. INTRODUCTION In January 1891, Portugal and its “ancient ally” Great Britain had reached an impasse regarding their mutually exclusive plans to occupy and colonize southern Africa. Great Britain forced the issue with the Portuguese, pre- senting an ultimatum to agree to British terms. The resulting loss of face and national prestige in Portugal led to riots against the government and even the monarchy itself, both popularly perceived as weak at a time of national crises.1 While many Portuguese who favoured the establishment of a republic used this crisis to further their cause, the writings of a journalist (and later politician) provide a unique insight into the day-to-day workings of Portugal’s largest overseas prison.