MARIANISM: THE VOICE OF THE SOUTHERN MINEIRAN CATHOLIC IDENTITY IN

By

SCOTT RONALD SMOLENSKI

A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY

UNIVERSITY OF FLORIDA

2018

© 2018 Scott Ronald Smolenski

“To my wife Filomena”

ACKNOWLEDGMENTS

First, I would like to acknowledge my beautiful wife, Filomena for her love and unselfish support of this research. Because of her, I was able to do my fieldwork in Brazil, and complete this document. I also want to thank our children Luis, Gabby, and Suelen for their patience and understanding when Filomena and I traveled to Brazil for three summers in a row. I want to thank my parents Maryann and Ronald, and family members for their love and support throughout this experience. Special thanks go to Larissa Rissatti for her helping arrange my interviews, assist in recording performances, and for creating files of my research on flash drives. To her mother Marcia Rigatti and grandparents, the late Luis and Mar Zé Rigatti, for putting my wife and me up in their home in Pouso Alegre while conducting research. I would especially like to acknowledge my sister-in-law Patricia Ventura-Zelnicker for her tireless encouragement, numerous readings of my rough drafts, and editorial help. Thank you also to my sister-in-laws Angela and Silvana for taking care of our kids while we were in Brazil. Of course, a big thank you goes to my committee chair, Dr. Welson Tremura, and co-chair Dr. Larry Crook whose guidance and encouragement over the years has been a source of inspiration. I would also like to thank Dr. Willard Kesling for his expertise in choral literature, conducting, and friendship.

Finally, special thanks go to Dr. Robin Wright for introducing me to the religion of the

Indigenous peoples of the Brazilian Amazon.

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TABLE OF CONTENTS

page

ACKNOWLEDGMENTS ...... 4

LIST OF FIGURES ...... 7

LIST OF EXAMPLES ...... 11

ABSTRACT ...... 16

CHAPTER

1 INTRODUCTION ...... 18

Research Objectives ...... 19 Theoretical Framework ...... 21 Methodology ...... 25 Marian Literature Survey ...... 28 Importance of This Study ...... 34

2 , ROLES, DOCTRINE, VIRTUES, AND DEVOTION ...... 36

The Virgin Mary ...... 37 Doctrine ...... 39 Virtues ...... 40 Marian Devotion ...... 41 Mary in Poetry ...... 47 Mary in Visual Art ...... 49 Mary in Music ...... 60 Romaria, a Pilgrim’s Song ...... 67 Conclusion ...... 72

3 MARIAN SONGS AND THE HISTORICAL ORIGINS OF MARIAN VALUES IN BRAZIL ...... 74

The Virgin Mary, Protector of Missionaries and Navigators ...... 74 The Virgin Mary and the Jesuit Missionaries ...... 75 Marian Art and Music in the Brotherhoods of Colonial Brazil ...... 79

4 MARIAN SONGS IN CATHOLIC DAILY LIFE ...... 100

Mary at ...... 100 Mission Masses and Mary ...... 102 Mary and the Charismatic Renewal ...... 108 A Marian Charismatic Healing Mass ...... 111 Youth Group Meetings and Mary ...... 113

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A Visit from the Pilgrim Mother ...... 114 Marian Processions ...... 116 Mary and the Feast of Corpus Christi ...... 117 ...... 120 Conclusion ...... 121

5 SINGING AND MARIAN DEVOTION IN SOUTHERN MINAS: CASE STUDIES IN POUSO ALEGRE AND THE NATIONAL OF NOSSA SENHORA ...... 123

A Charismatic Priest Sings to Mary ...... 127 Luis Sings to Mary...... 130 Leandro Sings to Mary ...... 148 Mary and a Charismatic Healing Mass ...... 156 Consecration to Mary at Mass ...... 160 A Mission Mass at Monica’s House ...... 162 A Charismatic Prayer Meeting and the Virgin Mary ...... 164

6 SUMMARY AND CONCLUSION THE TRANSFORMING POWER OF MARIAN DEVOTIONAL SONGS ...... 171

APPENDIX

A GLOSSARY OF TERMS ...... 183

B MUSICAL SCORES ...... 188

C AUDIO/VIDEO FILES ...... 244

D MARIAN DEVOTIONAL IMAGES ...... 246

E MARIAN DEVOTIONAL AIDS ...... 248

LIST OF REFERENCES ...... 250

BIOGRAPHICAL SKETCH ...... 255

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LIST OF FIGURES

Figure page

2-1 The Old , testament to early Marian devotion (photo by author)...... 45

2-2 The New basilica, a modern version of the “House of the Mother” (photo by author). ....45

2-3 The “Room of Promises,” a place to display gratitude to Mary (photo by author)...... 46

2-4 Ex-Votos of hands and arms offered to Mary in gratitude for healing (photo by author)...... 47

2-5 Peter Paul Ruben’s “The .” ...... 50

2-6 Giotto’s “Nativity.” ...... 51

2-7 Michelangelo’s “Pieta.” ...... 52

2-8 The Sanctuary of the , Pouso Alegre, MG (photo by author)...... 53

2-9 Mary, the Immaculate Heart and the crucified accompanied by angels (photo by author)...... 53

2-10 Devotional image of the Immaculate Heart of Mary (photo by author)...... 54

2-11 Metropolitan of Bom Jesus Pouso Alegre, MG (photo by author)...... 54

2-12 The child Jesus, Nossa Senhora Aparecida and St. Benedict the Moor (photo by author)...... 55

2-13 St. Anthony with baby Jesus, St. Sebastian, and Mary (photo by author)...... 56

2-14 Basilica of Nossa Senhora do Carmo, Borda da Mata, MG (photo by author)...... 57

2-15 The image of Nossa Senhora da Saúde Poços de Caldas, MG (photo by author)...... 57

2-16 My wife Filomena at Our Lady of Agony Church Itajubá, MG (photo by author)...... 58

2-17 Inside the Church (photo by author)...... 58

2-18 The image of Our Lady of Agony behind the main altar (photo by author)...... 59

2-19 Close-up of Nossa Senhora da Agonia (photo by author)...... 60

3-1 Aleijadinho’s “Twelve Prophets” referencing the Marian value of justice for the oppressed as expressed in Mary’s ...... 80

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4-1 Fr. Adilson blesses the newly consecrated young people (photo by author)...... 102

4-2 Singing in the main worship room (photo by author)...... 109

4-3 The Adoration chapel, a place where people can go adore Jesus in the tabernacle...... 110

4-4 A small, homemade chapel housing a statue of the blessed mother and her son Jesus. ..111

4-5 The image of “Our Lady of Schoenstatt”, who visits the infirmed...... 114

4-6 The image of Nossa Senhora Aparecida in procession, Aparecida, São Paulo state...... 117

4-7 A woman praising Jesus’ true presence in the Holy Eucharist with a right hand gesture...... 119

4-8 The Corpus Christi Procession, Pouso Alegre...... 120

5-1 Notations representing Vocal effects employed during performances by Fr. Celso, Luis and Leandro...... 127

5-2 Fr. Celso smiling with both hands crossed over his heart, a sign of assurance...... 130

5-3 Luis demonstrating the “Marian gaze” with a quick glance upward to his left, while singing Roberto Carlos’ “O Terço.” ...... 137

5-4 Leandro displaying the left-arm “blessing” gesture to reinforce the text literally...... 151

5-5 Leandro demonstrating the “Marian Gaze”...... 151

5- 6 Leandro displays his love for Mary by placing his hand over his heart...... 152

5-7 Leandro identifying himself as a pilgrim...... 153

5-8 Leandro promises, with his left hand over his heart, to do whatever Jesus commands...154

5-9 A head tilt and left arm raised to a ninety degree angle signifying empathy...... 155

5-10 Raised eyebrows, and a left arm gesture further expressing concern for others...... 155

5-11 Leandro shows respect for the name Jesus with a reverent bow...... 156

5-12 Fr. Celso, motioning toward the image of Nossa Senhora Aparecida, dispenser of healing graces and cause for great joy ...... 159

5-13 Parishioners demonstrating the “inviting” gesture...... 161

5-14 Both hands crossed over the heart, a visual sign of total devotion to Mary...... 162

5-15 Fr. Adilson and hostess Mônica Fernandes...... 163

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5-16 Singing to Mary oftentimes provokes an emotional response...... 164

5-17 Prayer group members gesturing to the text...... 165

B-1 A Treze de maio ...... 188

B-2 Virgo Serena ...... 189

B-3 Consagração a Nossa Senhora ...... 206

B-4 Daí-nos a Bênção ...... 207

B-5 Mãe Peregrina ...... 209

B-6 Mãezinha do Céu ...... 210

B-7 Magnificat ...... 211

B-8 Maria de Nazaré ...... 222

B-9 Na Casa da Mãe Maria ...... 223

B-10 Nossa Senhora ...... 226

B-11 O Terço ...... 228

B-12 Romaria ...... 230

B-13 Antiphona de Nossa Senhora () ...... 231

B-14 Tão Sublime ...... 239

B-15 Virgem Santa Aparecida ...... 241

B-16 Viva a Mãe de Deus e Nossa ...... 243

D-1 Nossa Senhora Aparecida (Our Lady who Appeared) ...... 246

D-2 Nossa Senhora de Fátima (Our Lady of Fatima)...... 246

D-3 Mãe peregrina de Schoenstatt (Pilgrim Mother of Schoenstatt) ...... 247

D-4 Nossa Senhora do Carmo (Our Lady of Carmel) ...... 247

D-5 Nossa Senhora do Perpétuo Socorro (Our Lady of Perpetual Help) ...... 247

E-1 The (O Terço) ...... 248

E-2 The Brown Scapular (O Escapulário Marrom) ...... 248

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E-3 The (A medalha milagrosa) ...... 249

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LIST OF EXAMPLES

Example page

2-1 Contrasting textures used to help portray the doctrine of the Immaculate Conception. ....63

2-2 Alternating duet textures in imitation emphasize the doctrine of Mary, Mother of ...... 64

2-3 Triple meter and homo-rhythmic texture aid in portraying the doctrine of Mary’s perpetual virginity...... 66

2-4 Homo-rhythmic text setting with longer note values signifiing the composer’s affection for Mary as the Mother of God...... 67

2-5 The melodic hook, an important factor for the song’s popularity...... 70

2-6 The song’s protagonist asks Mary to help illuminate his path to a happier life...... 71

3-1 The opening melodic gesture sets a sacred and somber tone for the music...... 83

3-2 The repeated opening melodic gesture reinforces the somber mood...... 83

3-3 Harmonic word painting emphasizing the actions of groaning and weeping...... 84

3-4 The Marian value of Hope expressed by a contrasting change in texture, key, meter, and tempo...... 85

3-5 Textural variety, sudden dynamic changes and a modulation to the minor mode help portray the Marian value of mercy...... 86

3-6 Supplication, portrayed by fragmentation, text repetition, and key change...... 87

3-7 The combination of a slower tempo, repeated text, and sudden changes indynamics signify Mary as the sorrowful mother, someone that devotees can relate to...... 88

3-8 Expanding textures and sudden dynamic changes help emphasize Mary as both a merciful and virtuous mother...... 89

3-9 The word Magnificat illustrated by an exclamatory setting consisting of repeated notes and tonic-dominant-tonic harmony, representing Mary’s joy she found by being obedient to God’s will...... 91

3-10 Mary’s ecstatic response to God portrayed by the repeated pitches C#-E-C#-D...... 92

3-11 Mary’s humility and obedience, marked by a sudden dynamic change, increase of voices, and imitation...... 93

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3-12 Mary’s “blessedness”, a reward for her obedience, expressed within the Pitch pattern C#-E-C#-B, a variation of an earlier one that portrayed joy...... 93

3-13 The sentiment of God’s strong arm, emphasized by utilizing melodic sequences...... 94

3-14 The pitch pattern in the soprano voice of an ascending 2nd, ascending 4th followed by a descending 4th filled in by step represents God’s dispensing of justice through Mary...... 95

3-15 Solo ensembles and contrasting dynamics portray God’s dispensing of good things to the humble through Mary...... 96

3-16 Mary’s message of God’s mercy to the poor expressed by increasing size of the vocal ensemble accompanied by a sudden increase in the dynamic level...... 97

3-17 Increasing ensemble sizes and dynamic levels emphasize Mary as a universal figure of motherhood who helps fulfill God’s promise to multiply not only Abraham’s descendants, but also those of all Christian believers...... 98

4-1 The melodic “hook”, an attractive and accessible motive...... 105

4-2 The consequent phrase, initiated by the “hook” and varied by inversion by direction of former lower neighbor patterns...... 105

5-1 The vocal techniques of a trembling and vibrato signify supplication...... 131

5-2 Vibrato added to the words that indicate a desire for Marys’ guidance through Jesus. ..132

5-3 Trembling on the word Senhora communicates empathy for those who suffer...... 132

5-4 Sad-sounding vibrato and a tremble indicating a sense of urgency...... 133

5-5 A vocal scoop, tremble, vibrato and descending pitch slide communicate the power of prayer and humility respectively...... 134

5-6 The use of vibrato on the word tristezas emphasizes a plea for relief from the sorrows of life...... 134

5-7 Vocal trembles and a soft dynamic level at the verses end communicate empathy for the lost and forgotten...... 135

5-8 Warm vibrato and a vocal scoop, used to communicate supplication to the Virgin Mary...... 136

5-9 The employment of a descending pitch slide emphasizes Mary’s God-given power to distribute graces to humans...... 136

5-10 The use of a crescendo, decrescendo, vibrato and vocal scoops convey an emotional plea to the Virgin Mary to pray to God for them...... 137

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5-11 Vibrato bringing emphasis to words that evoke contemplation...... 138

5-12 Vibrato, accentuating the agony that Christ suffered during his Passion and death...... 139

5-13 The use of vibrato aids in underscoring the excitement surrounding Jesus’ resurrection...... 139

5-14 Vibrato employed to emphasize Mary’s coronation in the presence of God the Father...... 139

5-15 A vocal scoop, vibrato and crescendo used in this instance to indicate an understanding that praying the rosary with faith will lead to obeying God’s will...... 140

5-16 A vocal scoop, trembles and vibrato used to represent obedience to God’s will by helping out a brother in need...... 141

5-17 Vibrato used to signify God’s love by having a love of one’s neighbor...... 142

5-18 Vocal trembles on sacred names and titles are used to represent reverence...... 143

5-19 Vocal scoops, vibrato, and a pitch slide indicate a devotee’s desire for guidance from the Blessed Mother...... 143

5-20 Vibrato, vocal scoops, and trembles signify a desire for Mary’s intercessory help and reverence of God respectively...... 144

5-21 The use of vibrato, a pitch slide, and vocal scoop underscore Mary’s worthiness of honor and praise...... 145

5-22 The use of vibrato and vocal scoops reiterate that Mary, a holy Virgin mother who appeared to three lowly fishermen, is worthy to be revered...... 145

5-23 The use of a pitch fall on the second syllable of the word Bra-zil, a vocal scoop and a crescendo/decrescendo during the second phrase all signify a desire for protection...... 146

5-24 A vocal tremble, scoop, and a recitative-like singing signify the mystery of Mary having conceived through the power of the Holy Spirit...... 147

5-25 A vocal tremble, scoop, vibrato, and a crescendo/decrescendo aid in communicating the mystery of the Incarnation...... 147

5-26 A vocal scoop and several instances of vibrato signifying supplication and recognition of Mary as a sacred mother...... 150

5-27 The third and fourth refrain phrases, initiated with a vocal scoop and additional tremble to emphasize urgency behind the request being made...... 150

5-28 Vibrato used to convey affection for the Virgin...... 152

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5-29 The beautiful metaphor of “knocking on the door of the Mother’s heart” marked with vibrato...... 152

5-30 A pitch bend signifying the emotion behind asking Mary for a blessing...... 153

5-31 The transformed refrain of “Viva a Mãe de Deus e Nossa” lifts people’s spirits...... 158

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LIST OF OBJECTS

Object page

C-1 Case study audio files ...... 244

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Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy

MARIANISM, THE VOICE OF THE SOUTHERN MINEIRAN CATHOLIC IDENTITY IN BRAZIL

By

Scott Ronald Smolenski

May 2018

Chair: Welson Tremura Cochair: Lary Crook Major: Music

Catholics living in and around Southern Brazil have a reputation for having a fervent devotion to the Virgin Mary. This strong Marian identity is expressed by activities like praying the rosary; participating in one of the popular such as Nossa Sehnora

Aparecida, Nossa Senhora de Schoenstatt, and Nossa Senhora de Fatima; making a consecration to Mary, or by going on an annual pilgrimage to the National Shrine in Aparecida do Norte, São

Paulo. All of these devotional activites involve the act of singing. My dissertation shows how singing Marian songs has the power to affect people’s lives. The transforming power of singing

Marian songs can be better understood by applying Turino’s semiotics for music to analysis of song performances. I analyze performances given by solo singers and groups in Pouso Alegro and at the National Shrine in Aprecida do Norte, São Paulo for displays of dicent-indices1 like vocal tone, techniques and physical gestures that enhance the delivery of each song’s message expressed in the text. My research shows that the dicent-indices and emotional or energetic

1A dicent-index is a sign type that is interpreted as real, true, and natural. It is considered the most direct and convincing sign.

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interpretants2 displayed during performance have become part of a shared group experience among Marian devotees in Southern Minas. A byproduct of this communal experience is conversion. I therefore submit that people’s behavior can be transformed by having a devotion to the Virgin Mary, and that singing is the primary expression of establishing and maintaining this organic process. Singing songs to Mary causes people to pause and re-evaluate their life journey, placing in them a desire to adopt Marian virtues like humility, obedience, purity, trust and charity. In so doing, a person develops certain Marian attitudes and behaviors, what I call

Marianisms. Through personal interviews, analysis of sound and video recordings, and through musical transcriptions and score analysis, I describe not only how meaning and identity is expressed through the act of singing, but also how the songs reflect a personal relationship with

Mary.

2 An interpretant is a reaction caused by a sign. There are two types, emotional and energetic. An emotional interpretant is a direct, unreflected feeling caused by a sign; whereas an energetic interpretant is a physical reaction caused by a sign.

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CHAPTER 1 INTRODUCTION

Devotion to the Virgin Mary in Brazil is as widespread as is samba, sertaneja music, and soccer. There are various Marian devotions in each state, and home altars that include her image are plentiful; however, the most fervent devotion1 occurs in the southern portion of the state of

Minas Gerais.2 For many living in this region, the Mother of Jesus is the nucleus of many social activities that often provide opportunities for evangelization, whether on the street, in the marketplace, or at Church events. The Virgin Mary’s social influence is more apparent in southern Mineiran society than it is elsewhere as wherever one goes one can encounter her image, and meet schoolgirls and women with names like Maria, Aparecida, Lourdes and Fátima.

The Virgin Mary is even referenced in daily speech in phrases such as Nossa Senhora, which reminds people of Mary’s place of honor in their Catholic faith, and acknowledges her guiding role in their thoughts and actions.

The Marian devotional songs that the people in southern Minas sing emphasize her significance in their faith journey as a spiritual guide. While singing, there is recognition, through the display of emotion, that the manner in which they sing represents their understanding and appreciation of Mary’s significant role in God’s plan of salvation. In addition, it is through singing that their faith and personal devotion to the Virgin Mary is strengthened, giving them hope and the desire to help others, allowing them to become more fully engaged in their community. Singing songs to Mary is a significant part of the people’s prayer routine as it helps them find solace and meaning in their lives. They experience a sense of reassurance, knowing

1 Father Celso Antonio Lélis Diogo, June, 2015.

2 Minas Gerais is a state located in the central southeastern part of Brazil. It borders with the states of Goiás, Espírito Santo, Rio de Janeiro, and São Paulo.

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that they can depend on the Virgin Mary for help. Consequently, singing Marian songs is a cultural marker, a way of life, for people who live in this region.

I have chosen the topic of singing as a means of expressing and transmitting devotion because it inspires people to incorporate religious activity into their lives. To the people of southern Minas, the repertoire of Marian songs functions as a tangible means to experience

Marys’ guiding role in their lives. Most of the songs have been around for many years; however, some are more recent and are composed by living priests and nuns like Padre Zézinho and Irmã

Miria Kolling. Still other iconic songs have been written and recorded; by popular singers like

Renalto Teixeira, and Roberto Carlos. In any case, these songs in devotion to the Mother of Jesus are well-loved by the population as they reflect their trust in her.

Research Objectives

This research will address the power that singing Marian songs has to affect a change in the way people in southern Minas live their lives; hence, reflect their identity. The following three objectives will illustrate how I go about demonstrating this. First, I describe and analyze the relationship between singing Marian devotional songs and the southern Mineiran cultural identity. I will illuminate how singing Marian songs shapes a diverse population into a community of like-minded believers. Second, I argue that singing Marian songs helps reinforce traditional Catholic family faith values through the re-signification of Mary’s persistent role as a moral model for human behavior in southern Mineiran society. Family values are linked to activities that include attending weekly mass, praying the rosary together, and participating in

Church activities. The re-signification of traditional Catholic faith values through singing helps create (or maintain) a desire for people to live a virtuous life by re-awakening in them the values that were taught to them as children by their parents and/or grandparents. In cases where some have fallen away from their faith, singing or hearing these songs jogs their memory, “cuting

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them to the heart” while causing an energetic and emotional responses linked to their actual experiences. These interpretive responses are powerful as they show what people have experienced when they were young, and therefore resonates with their conception of religious truth and creates a desrie to make a return. Singing Marian songs can also function as a bulwark against perceived threats like modernism and communism. In this instance, the people reinforce their faith values by re- interpreting Mary as a person who can help them cope with the changes that are or have occurred in their environment. Third, through performance analysis of singing, I show how elements like vocal tone, gestures, and body posture (dicent-indieces) are interpreted as true expressions of people’s deep-seated devotion to the Virgin Mary. I adapt Turino’s work on indices and dicent-indices3 as a way of illustrating the emotional impact of singing and interpreting meaning in musical performance. The elements listed above (aural and visual) help explain how the people interpret this expression of emotion as being part of their existence.

Transformation first takes place in individuals, and is later extended to the community. A community is a group of people who live in the same area, and share similar interests. In the case of this research, the immediate community is fairly small and consists of Catholics in the area of the Metropolitan cathedral of Bom Jesus, and the parish of Nossa Senhora de Fátima. However, this population expands when linked to other parishes within the city of Pouso Alegre like the

Santuário do Imaculado Coração de Maria, Nossa Senhora e São Francisco, and Santo Antônio, as well as to those of the nearby city of Borda da Mata (Basilica of Nossa Senhora do Carmo). If we look at the relationships the people of Pouso Alegre4 have with each other, we find that there

3 Thomas Turino, Peicean Thought As Core Theory For A Phenomenological Ethnomusicology, Ethnomusicology, Vol. 58(2): 185-221, May, 2014.

4 The city of Pouso Alegre is geographically situated at the center of southern Minas in the Sapucaí River valley. An industrial center with industries in the food sector, textiles and metallurgy, it boasts a population of 142,000 inhabitants. Other nearby cities include Santa Rita do Sapucaí, Borda de Mata, Poços de Caldas and Itajubá.

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are shared habits such as having a strong devotion to the Virgin Mary, praying the rosary, going to weekly mass, participating in Church activities, and making an annual pilgrimage to the

National Shrine in Aparecida do Norte, São Paulo. I have chosen the southern Mineiran city of

Pouso Alegre for my primary study because the population is historically a Catholic, family- oriented one. Additionally, my wife Filomena is Brazilian and has family members there. Her late uncle Luis and aunt Mar Zé, their daughter Márcia, and her children Larissa and Leandro, and aunt Adelaide were of great help to me as they represent three generations of Pouso

Alegrenses. With their help, I was able to make valuable connections with many important people within their community.

Devotional practices like praying the family rosary daily are instilled by the parents or grandparents of many Pouso Alegrenses. An informant-friend of mine named Marianna had this to say about her devotion to Mary: “While living at my grandparents’ house, every night before going to sleep, all the grandchildren would gather around grandmother’s bed and pray the rosary.

This is one of my fondest memories that I have.”5 In addition to activities like praying, everyone from toddler to senior is familiar with singing Marian songs. For those devoted to Mary, these songs have multiple layers of meaning behind them that have been formulated over an individual’s entire life. Everyday life for most of this community includes prayer, individual and communal singing, and other acts of devotion. I argue that these shared habits, especially singing, ultimately function to construct the Marian Catholic community in Pouso Alegre.

Theoretical Framework

Turino’s theory of semiotics illustrates the importance of how dicent-indices contribute to the power that singing Marian songs has to transform people’s lives. The transforming power of

5 Marianna Fernandes de Siqueira e Silva, personal interview, June, 2015.

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Marian songs in people’s lives in southern Minas has not yet been addressed in the field of ethnomusicology. This research will give a new explanation for the pervasiveness of Marian devotion in the culture of this region. In order to elaborate a clear understanding of these social relations, my analysis will apply semiotics to the activity of singing.

Turino’s Semiotics for music follows Charles Sanders Peirce, and comprises three major components: the sign, the object and the interpretant. The sign is defined as something that stands for something else to someone in some way; the object is the entity for which the sign stands, and the interpretant is the effect that is created when both the sign and object are brought together in the mind of the perceiver. For Marian devotes, an image of the Virgin Mary, like a statue or painting may operate as a sign vehicle of this devotion. This image can physically exist, or it can be “present” in the memory of the devotee. Since the object, Mary herself, cannot be physically present, the “Marian moment” is created6 through prayer and singing, oftentimes while physically in front of her image. According to Turino following Peirce, there are three types of interpretants; the emotional, energetic, and the sign-interpretant. The first two types are most pertinent to my research. Emotional interpretants are defined as feelings caused by the sign that are direct and unreflected-upon (like bowing in front of her image), while energetic interpretants are characterized by a physical reaction that is caused by the sign. Both emotional and energetic interpretants are significant for musical performance as singing often involves displays of emotion and physical reactions by the singer, listener, or both. In my fieldwork, I recorded performances, by both individuals and small groups, where deep emotions were displayed through vocal tone, gestures, and at times physical reaction. In this dissertation, I argue

6 I use the term created rather than imagined because the devotees do not believe that they are imagining things. Rather, to them the Virgin Mary’s spiritual presence is real.

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that the emotional and energetic interpretants created and displayed when singing Marian songs function as indices of religious truth for people who have a fervent devotion to the Virgin Mary.

Icons are also important to the research project because they involve a relationship between how the sign is represented, and what it signifies to a community of believers. This relationship between and faith can be better understood by utilizing Peirce’s second sign- object relations trichotomy in which icons and indices fall. This second trichotomy of concepts, involving the , index, and symbol, specifies three ways that the sign and object are related in the mind of a perceiver.7 All three are pertinent to my research because, according to Turino icons and indices are signs of identity based on resemblance, commonality and direct connetions, and symbols involve symbolic meaning in song texts.

An icon is a sign vehicle that is related to its object through some type of resemblance.

Statues and paintings of the Virgin Mary are powerful icons that can instill devotion because they offer an actual, physical representation. The second concept is the index. An index is a sign indicator that is related to its object through co-occurance in actual experience. In music, cadences like the V7 – I, and V – vi index closure or continuation respectively in Western

Eruopean-based music. Participating in Marian processions indexes peoples love, respect and affection for the mother of Jesus as it provides a strong tradition of giving witness to members of the Catholic community. Indices are significant to my work because they have occurred in conjunction with the actual life experience of devotees. It is often the case that when people sing to Mary while fixed on her image, a tangible link of both aural and visual presence of the Virgin is indexed. The third concept from Peirces’s second trichotomy is the symbol. “A symbol is a

7 Thomas Turino, Signs of Imagination, Identity and Experience: A Peircian Semiotic Theory for Music, Vol. 43 (2), 226.

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sign that is related to its object through the use of language rather than being fully dependent on iconicity or indexicality.”8 Symbols involve propositional speech, and refer to things in a general sense. Symbols are also significant to my research because they include song lyrics which invove symbolic meaning. Together, icons, indices, and symbols provide a rich aray of meanings that are displayed while singing.

An explanation of how signs are interpreted occurs within Peirce’s third trichotomy. For my research, the most significant type of sign vehicle from this category is the dicent. Dicent signs are interpreted as truly being affected by their objects in respect to someone’s actual existence. Furthermore, when combined with indices become dicent-indices, which are part of people’s actual experience, and are interpreted as expressing people’s attitudes and deep-seated beliefs. I use the concept of dicent-indices to explain how the act of singing affects the identification and comprehension of faith values the people have in southern Minas Gerais.

Dicent-indices are central to the power of musical performance,9 as they activate both emotional and energetic interpretants. I argue that it is through this visual, aural, and tactile experience during singing that the people’s religiosity is revealed. Examples of dicent-indices include a repertory of expressive vocal tones, facial expressions, and physical gestures. Vocal tones are used to emphasize the meaning behind a specific word or phrase in a song. Singers select vocal tones related to the text sentiment and meaning. For example, a tone that has a pleading type of sound can portray supplication. This message may be further amplified with an accompanying gesture like raising one or both arms with palms facing up.

8 Turino, Signs of Imagination, 227.

9 Thomas Turino, Signs of Imagination, Identity, and Experiences: A Peircian Semiotic Theory for Music, Ethnomusicology, Vo.43 (2), Spring/Summer, 1999, 238.

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Prayerful, pleading, or powerful vocal tone varieties are part of a shared repertory constructed via performances and are experienced over time. Physical gestures are visual reinforcements of a song’s message and meaning. They enhance the “truth value” by providing a visual interpretation through accompanying body motion. How the people sing is how they pray.

Both activities may exhibit similar iconic vocal qualities and may co-occur (indexical) in the context of devotion.

Methodology

I carried out the majority of fieldwork for this dissertation in the city of Pouso Alegre,

Minas Gerais during the month of June of the years 2013, 2014, and 2015. In addition, I performed research on Marian pilgrimages in the city of Aparecida do Norte, São Paulo state at the National Shrine of Nossa Senhora Aparecida in 2015. Pouso Alegre is an ideal city for such a study because it has a strong Catholic presence. In fact, it has the largest Catholic population in both the state and national average.10 The historical factors that contributed to this include the fact that the city received many people of Portuguese descent during the colonial era, and many

Catholic Italians immigrated to the area during the late 19th century. Both Portuguese and Italian immigrants brought with them a faith tradition that included a strong devotion to the Virgin

Mary. Although I am also a practicing Catholic, the “Brazilian” Catholic experience11 is new to me. The project therefore is written from the perspective of an “outsider” investigation grounded in ethnographic fieldwork with the goal to understand the cultural perspectives of the devotees and to describe their activities in devotion to Mary. My research involved collecting and

10 Silvia Regina Alves Fernandes, “Pouso Alegre e a Catedral – um pouco sobre o catolicismo na cidade mineira”, Estudos de Religião, vol.25, no.40, 2011, 18.

11 The concept of Marian devotion is essentially the same in both the American and Brazilian Catholic cultures; however, devotions that are specifically Brazilian (like Nossa Senhora Aparecida) are not known or practiced in the United States except in immigrant communities.

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analyzing ethnographic data gathered from interviews and observations of performances of devotees in Pouso Alegre and at the National Shrine in Aparecida, in São Paulo state. At these locations I recorded individuals, gatherings, and singing in a variety of venues including concerts, masses, and prayer group meetings.

While on my first trip to Brazil, during the summer of 2013, I interviewed priests, nuns, and laity from Pouso Alegre as well as a priest in Bauru, São Paulo who was originally from

Minas Gerais. The churches in Pouso Alegre that I visited included the parish of Santo Antônio where I interviewed the pastor, Father Estevão Maurício; the Carmelite Convent of the Sacred

Family, Mother Superior Maria Teresa de Jesus, and Musicology professor Juliana Coli.12 I also interviewed Father Emanuel Torres (Pastor), and Brother Lucas (organist) at St. Benedict

Monastery. Finally, I interviewed Fr. Leandro de Carvalho Raimundo, pastor of “Our Lady of

Help Seminary” for the Archdiocese of Pouso Allegre. Also, an invaluable source to me was the late Luis Rigotti, my wife’s uncle. It was “Tio Luis” who took me to my first Brazilian mass at the cathedral of Bom Jesus, and spent time with me talking about the Church and asking questions about my research. In Bauru, São Paulo, at the parish of Nossa Senhora Aparecida I interviewed a Minas-born priest, Father Júlio Cesar, who answered a variety of questions about

Vatican II’s impact on the Catholic laity in Brazil.

During my 2014 trip to Brazil I was able to make even deeper connections with the local community and conducted many interviews that gave new insight into the daily lives of the people. For example, I interviewed the author Antônio Célio Rios de Andrade (Pouso Alegre

Pitoresca); Vitória Cândida Moreira, Director of Music at Bom Jesus; Lourdes Franco,

12 It was Professor Coli who informed me about the major categories of Catholic music in Brazil, such as the Mineiran baroque (historical) and Pastoral songs (today’s liturgical music).

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Coordinator at the cathedral Bom Jesus for the Marian devotion known as Mãe Rainha de

Schoenstatt; William Bottazzini, professor of English, Latin, Spanish, and Italian at the Wizard

School;13 Father José Carlos Ribeira, a priest and friend of the late John Paul II; Carlos

Alexander Soares, former head of one of Pouso Alegre’s Charismatic House of Prayer, and

Adelaide Morais, a retired government worker and former coordinator for the devotion of Mãe

Rainha de Schoenstatt.

By the summer of 2015, with many relationships established, I participated in a pilgrimage to the National Shrine in Aparecida, SP where I interviewed fellow pilgrims, some of whom sang for me. While in Aparecida, I had the opportunity to meet with the famous Brazilian

Catholic liturgical composer, Sister Míria Kolling. I also had the good fortune to interview the curator of the Marian Academy at the shrine, Father Valdivino Guimarães. While in Pouso

Alegre, I experienced the Marian character of the people at a much deeper level by attending special masses, a charismatic prayer meeting, and by acquiring information from recorded musical performances, interviews, and television shows.

Through the analysis of sound and video recordings, and through musical transcriptions and score analysis, I describe not only how meaning is expressed through the act of singing, but also how the songs reflect a personal relationship with Mary. This relationship helps them understand God’s approachability. Most of the transcriptions come from song performances that

I recorded; however, some are from additional sources like devotional booklets, websites like cifraclub.com/br (an online guitar tab-sheet music site), and Choral wiki. All of these songs, with

13 The Wizard School is a language school founded by Professor Carlos Wizard Martins, a Brazilian author and entrepreneur.

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the exception of the European ,14 are well-known and sung by the people of southern

Minas Gerais. I have transcribed most of the music with the exception of the works of , José Joaquim Emerico Lobo de Mesquita, José Maurício Nunes Garcia, and Sister

Míria Kolling’s song titled Na Casa da Mãe Maria. These scores are available through the choral wiki site or in the case of Sister Kolling, via her personal website. I have included a section of complete scores and songs15 in the appendix for reference.

Marian Literature Survey

Scant scholarly work has been devoted to forms of music linked to informal expressions of Catholicism, including Marian devotional singing in Brazil. This contrasts with the amount of scholarly attention given to music from Afro-Brazilian religions like Candomblé, and

(Béhague, Brandão), or the beliefs of indigenous peoples of the Amazon rain forest (Hill, A.

Seeger, Wright). However, a few well-known scholars have written about music and popular forms of Catholic faith in Brazil.

Although the demographic of Pouso Alegre’s population is mostly of European ancestry, an appreciation of the struggle of the African slaves, and their dependency on Nossa Senhora for help, serves as a metaphor for the suffering experienced by the current population as a whole.

Elizabeth Kiddy’s book Blacks of the Rosary: Memory and History in Minas Gerais, Brazil discusses the history of the irmandade (brotherhood) of “” in Minas

Gerais. Kiddy’s book provides an excellent insider’s view of the congados, reinados (annual feast day of the crowning of “Our Lady of the Rosary”) that occur still to this day in the region of

14 The Marian antiphons by Josquin des Prez, José Joaquim Emérico Lobo de Mesquita and José Maurício Nunes Garcia are not known to most Brazilians; however, are familiar to many Brazilian university choral conductors, and musical scholars.

15 The chords used by performers may not match those indicated in the lead sheet because of personal preference or substitutions.

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Jatobá, Minas Gerais. Kiddy explains that devotion to “Our Lady of the Rosary” affirms the link between the Virgin Mary and the emancipation from slavery. Devotion to Nossa Senhora do

Rosário became a cultural bridge between what the Africans had known in their native lands and what they came to know in their captivity, an act that created meaning in the lives of the people devoted to her.”16 Kiddy’s work is significant to my research because it provides an awareness of how the idea of the Mother of Jesus freeing the Afro-Brazilians from slavery is interpreted through the lens of Catholic belief that Mary can keep her devotees far from sin, reinterpreted as a type of slavery. As one Catholic priest told me, “Congados are still celebrated by Afro-

Brazilians living in and around Pouso Alegre; however, one can [only] witness a Congado during the feast day of the black saint São Benedito.”17

The key scholars in the field of Popular Catholicism include Suzel Ana Reiley, Welson

Tremura, and Carlos Rodrigues Brandão. In the practices of the Folia de Reis, the Virgin is given special place as it is believed that she, upon the adoration of her son Jesus by the three kings, gave them musical instruments (viola, pandeiro and caixa)18 with the mandate to sing and play music throughout the land announcing the birth of the savior. Suzel Reily’s Voices of the Magi:

Enchanted Journeys in Southeast Brazil focuses on an understanding of divine intervention from a subaltern class point of view. The social injustices experienced by the poor are alleviated through performances as a space is opened up between heaven and earth that gives the people a glimpse of how life on earth could be. The concept of reciprocity is a significant motivating factor for participating in these performances.

16 Elizabeth Kiddy, Blacks of the Rosary: Memory and History in Minas Gerais, Brazil. University Park: The Pennsylvania State University Press, 2007, 62.

17 Father Estevão Mauricio, pastor of Santo Antonio parish, personal interview, June, 2013.

18 A viola is a 10-string guitar; a pandeiro is a frame drum similar to a tambourine; and a caixa is a snare drum.

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In his Brazilian Folia De Reis, with an Open Heart: A Spiritual Journey through Song,19

Welson Tremura focuses on discovering the faith identity of the folia member’s communities through performance and song text meaning. Naturally, there are some similarities between his work and Reily’s. For example, both mention that it is through performance that a channel is opened between this world and the divine, and that reciprocity is an important part of their belief system. It is significant to note that the religious practices of the folia de reis occur outside of the direct control of the official Church; however, they are considered by the clergy as an important part of the people’s faith expression within the Church.

In his book titled Popular Faith in Brazil (1993), Brandão describes three main traditions: 1. Popular Catholicism, 2. Afro-Brazilian20 spiritualistic religions, and 3.

Protestantism (with an emphasis on the Pentecostals). In addition to popular Catholicism,

Pentecostalism is pertinent to my research because it is the fastest growing Christian denomination in Brazil. The Pentecostal presence in Pouso Alegre offers some religious competition to the Church, and also teaches resistance to Marian devotion as well. While emphasizing the work of the Holy Spirit as the most significant sign of a true Christian, the

Pentecostals shun the devotions of the Catholic faith, and believe that the Afro-Brazilian religions are the work of the devil.21 What is more is that the essential difference between the

Pentecostals and Catholics (and interestingly enough between Afro-Brazilian variants as well) is

19 Welson Tremura, “Brazilian Folia De Reis, With an Open Heart: A Spiritual Journey through Song”, Ph.D. Dissertation, University of Florida, 2004.

20 Although the majority of the population in Pouso Alegre is white European based, there are some Afro- Brazilians living in the city.

21 Carlos Rodrigues Brandão, Popular Faith in Brazil, from South and Messo-American Native Spirituality. Ed. Gary Gossen, New York: Crossroad Publishing, 1993, 466.

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that the Pentecostals do not believe in intercessory prayer in which a prayer or petition is offered on behalf of other persons and their needs.

Mariology, the study of the Virgin Mary and the body of theology, history, speculation, and her relationship with the Incarnation and redemption, from the viewpoint of Brazilian priests, is valuable to my research because it offers a theologically based explanation of Mary’s significance to the Catholic population in Brazil. The Brazilian priest Fr. Clodovis Boff has contributed significantly to this field with his book titled Introdução a Mariologia (“Introduction to ”). In his book, Fr. Boff lays out five goals for the study of Mariology that include the intellectual, spiritual, moral, cultic, and pastoral. The third, fourth, and fifth goals (moral, cultic, and pastoral) have the most potential for my study because they reveal important information as to why the people sing to the Virgin Mary. Emulating Mary is a moral goal because it is believed that she is the perfect example of a human being who lived a life of faith and love. The fourth goal, the cultic, reinforces the idea that Mary holds a special place, and deserves to be honored properly in the liturgy, song, and in popular devotions. The fifth goal, the pastoral, places an emphasis on the importance of communicating the meaning of Mary to both

Catholics and members of broader society by priests and the laity. My research will offer a new dimension to Mariology, one that brings into focus how Marian songs and the act of singing are essential components to accomplishing Fr. Boff’s three goals mentioned above.

The “Romanization” of the Brazilian (1850-1930) marks a period of time where the Church’s moral teachings heavily influenced Brazilian society. The Dutch scholar C.F.G. de Groot’s book Brazilian Catholicism and the Ultramontane Reform, 1850-1930 gives an impressive description of the “Romanization” of the Brazilian Church. It was during this period that the tenets of the “official” faith were re-clarified to both the clergy and the laity

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in order to reign in some of the “superstitious” practices that were occurring in Brazil. It is important to point out that the “Romanization” of the Church was particularly successful in the state of Minas Gerais.22 Today’s Church in Brazil continues to assert its teachings.

In Robin Nagle’s book, Claiming the Virgin: the broken promise of liberation theology in

Brazil, the author describes how in Northeastern Brazil, two factions within a single Catholic community, utilized the Virgin Mary in support of their opposing political views. The side that represented the “official,” traditional Church claimed that Mary helped in combating and defeating the ideology of liberation theology, whereas the liberationists believed that Mary was on their side in the fight against social injustice. In either case, Mary was imagined as a powerful moral symbol able to unite even those with opposing political views.

The Virgin Mary continues to be an important force that shapes, protects, and maintains the moral fabric of society in southern Minas Gerais. Carlos Leonardo Teixeira Sampaio’s work titled, A Igreja Católica e a transformação do espaço e do viver urbano de Pouso Alegre - MG

(1936-45), discusses how the Church responded to the challenges of its authority from outside influences like the modernization and secularization of society. The author’s use of the metaphor of the transformation of space is one that is illustrated by the insertion of newly constructed (or renovated) civic spaces, like movie theaters and cultural clubs, that served as centers for the dispersion of religious, cultural, economic, or political ideas. Some of these “progressive” ideas, especially those coming from Hollywood films via the new movie theatre in town, were oftentimes viewed as being in direct conflict with the Catholic Church’s teachings. The Church responded by encouraging the young people to hold on to their traditional faith and customs as a

22 The only exception to this was the irmandades and popular Catholic practitioners in the rural areas. These groups resisted the movement in order to preserve their heritage.

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means of resisting the modern social views. The Church recommended that Catholics cling to their faith, and emulate the Virgin Mary as a means of protection. Regular weekly participation in mass was (and still is) highly encouraged for Catholics, and it is often the case that the Virgin

Mary is invoked in prayer and song during the liturgy.

Silvia Regina Alves Fernandes’ paper titled Pouso Alegre e a Catedral – um pouco sobre o Catolicismo na Cidade Mineira Estudos de Religião provides historical and current statistical information about the Catholic Church-going population in Pouso Alegre. Her work overlaps somewhat with Sampaio’s idea that Pouso Alegrenses have clung to their traditional, family values in the face of social and economic changes, but also addresses demographics of other protestant denominations that are competing for members. Alves Fernandes also mentions the habits of those who attend the cathedral of Bom Jesus, and how they are affected by factors such as marital status, age, social class, distance from the church, the priest, the hours that mass is offered, and the music. Music (song selection, singing, and selection of accompanying instruments) can affect mass attendance. According to Alves Fernandes, among those polled at the cathedral, most people are satisfied with the singing and the instruments (guitars) that are used at mass.23 This is significant because good music equates to better participation, hence better attendance. The quality of the music during mass is important as it can attract people to attend Church or not.

The participatory nature of singing Marian songs emphasized in my research expands previous accounts and adds the dimension of singing’s transformative power. The affect that the singing of these songs has on the population is impressive. The people’s love and affection

23 Silvia Regina Alves Fernandes, Pouso Alegre e a Catedral – um pouco sobre o catolicismo na cidade mineira, 2011, 26.

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toward Mary, as well as their desire to emulate her, is further evidenced when singing songs from memory.

Importance of This Study

The power that the human singing voice has to transmit a faith message so strong as to have the ability to influence people to make a change in the way they live their lives is important for understanding an identity grounded in devotion to Mary. A study such as this is fundamental in explaining what previous research on music and the Virgin Mary does not, namely the transformative power of singing. I emphasize that the act of singing makes Mary necessary for devotess’ every-day lives. By analyzing performances of selected songs through a semiotic lens, the power singing has to reinforce a belief system is revealed. Singers utilize dicent-indices that produce either direct, un-reflected-upon feelings (emotional interpretants) or physical reactions

(energetic interpretants). These emotional and energetic reactions are the result of links to common life experiences shared by many. Group recognition and interpretation of certain vocal tones and physical gestures provide support to a common set of beliefs. A perspective in how singing transforms people’s lives will be offered. My study also introduces new interpretations on how these songs can function both as moral prescriptions (living a good life, and taking care of those who are in need), and as reminders to the people of Mary’s love for them. It is through the act of singing then that people better comprehend Mary’s role in God‘s plan, and how her example affects their reality.

The dissertation is organized into six chapters. Chapter 1, “Introduction,” includes my research objectives, theoretical framework, methodologies, and provides a survey of the literature. In Chapter 2, “The Virgin Mary, Doctrines, Roles, virtues, and Devotion,” a discussion of the privileged nature of Mary within Catholicism, devotion in early European poetry, art, and music, as well as a glimpse of Brazilian devotion, is provided. Chapter 3, “Marian Songs and the

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Historical Origins of Marian Values in Brazil,” is comprised of a discussion of the origins and eventual wide-spread devotion to the Virgin Mary in Brazil. In Chapter 4, “Marian Songs in

Catholic Daily Life,” I discuss the usage and application of Marian songs in the daily lives of devotees. In Chapter 5, “Singing and Marian Devotion in Southern Minas: Case Studies in Pouso

Alegre and at the National Shrine of Nossa Senhora Aparecida,” I use a semiotic lens to analyze how the singing of Marian songs construct, reinforce and perpetuate a strong Marian communal bond in the south Mineiran city of Pouso Alegre and the surrounding area. Chapter 6, “Summary and Conclusions: The Transforming Power of Marian Devotional Songs” presents a synthesis and conclusion of my research. In it, I re-assess how devotion to the Virgin Mary via singing helps transform the lives of people from individuals to members of a religious community. While focusing on the Catholic community of Pouso Alegre, I submit that the singing of Marian devotional songs has become a dominant Catholic-southern Mineiran cultural marker.

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CHAPTER 2 THE VIRGIN MARY, ROLES, DOCTRINE, VIRTUES, AND DEVOTION

In this chapter, I examine Marian roles, doctrine, virtues, and devotion to explain how the

Virgin Mary has become the center of her devotee’s Christian faith that places her as a mediator between God and humanity. First, I introduce the figure of Mary in a biblical context, when she first appears in the Old Testament, and later in the gospel of Luke and Book of Revelations.

Second, I identify and discuss the significance of the four Marian doctrines proclaimed by the

Church over the centuries. Third, I distinguish the significance of Mary’s ten virtues1 with respect to devotion. Both the doctrines and virtues are foundational for understanding her roles, the most significant being that of a mother. Fourth, I demonstrate how Marian poetry, art, and music have contributed to the reinforcement of doctrinal beliefs, virtues, roles and devotion. I argue that the continuing importance of these attributes reinforce the idea that Mary is a central part of the Southern Mineirans Catholic identity.

Mary’s primary role is that of a mother. There are three types of mother exemplified by

Mary: a virtuous mother, a protector mother, and suffering mother. The Virgin Mary is a virtuous mother because her life modeled faith, hope and love for humanity. She is a protector mother who guards her devotees from harm, and a suffering mother who understands what it means to endure pain and loss from personal experience. The second most important role of the Virgin

Mary is that of an intercessor. Mary has the power to intercede to her son Jesus on behalf of her devotees who seek strength in times of temptation, or mercy for any wrongdoing.

1 The Ten Virtues of Mary were defined by St. (1673-1716) in chapter three of his book titled “”.

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The Virgin Mary

Mary, a Jewish girl chosen by God to give birth to a son who would redeem the world is not mentioned in the Old Testament directly; however, according to Miravalle the role of Mary is foreshadowed in the books of Genesis (Gen 3:15), in the prophesy of Isaiah (Is. 7:14), and in

Micah (5:2-3).2 In the Genesis excerpt, God places enmity between the seed of the serpent

(Satan) and the seed of the woman (Mary’s son Jesus). The passage continues with the words “he

(Jesus) shall bruise your head, and you (Satan) will bruise his heel,” indicating that Jesus and his mother Mary would conquer sin and Satan. The passage in Isaiah (Is. 7:14) foretells Mary giving birth to the Savior. It reads, “Therefore the Lord himself will give you a sign. Behold, a virgin shall conceive and bear a son, and his name shall be called Emmanuel.” The excerpt from the prophet Micah (5:2-3) predicts that Mary will give birth to the “ruler of Israel,” and that he will be born in the city of .

Although there is no Biblical information about Mary’s early childhood, it is certain that her parents and Anne, raised her in accordance with the law. The names of Mary’s parents do not appear in the Old Testament or in any of the four Gospels in the New Testament; however, Joachim and Anne have come down to the faithful through Christian oral tradition.

Mary enters the New Testament in the Gospel of Saint Luke (Lk. 1, 29-31), where the angel

Gabriel greets her in this famous account:

‘Hail, full of grace, the Lord is with you!’

But she was greatly troubled at the saying,

and considered in her mind what sort of

greeting this might be. And the angel said

2 Mark Miravalle, Introduction to Mary: The Heart of Marian Doctrine and Devotion, Queenship Publishing Company, 1993, pp.17-18.

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to her, ‘Do not be afraid, Mary, for you

have found favor with God. And behold

you will conceive in your womb and bear

a son, and you shall call his name Jesus.

The next mention of Mary in Luke’s gospel occurs when she visits her cousin Elizabeth who is pregnant with her son, who would become St. John the Baptist. During her visit, Mary’s cousin tells her that God has blessed her and the baby within her womb. Mary responds to this with a sacred called the Magnificat. I will discuss the significance of the Magnificat in

Brazilian socio-musical history in Chapter 3. The last time Mary appears in the scriptures is in the Book of Revelations (Rev. 12, 1-6) where, by giving birth to the Savior, she triumphs over

Satan:

And a great portent appeared in heaven,

a woman clothed with the sun, with the

moon under her feet, and on her head a

crown of twelve stars; she was with child

and cried out in her pangs of birth, in

anguish for delivery. And another sign

appeared in heaven; behold, a great red dragon,

with seven heads and ten horns, and

seven diadems upon his heads. His tail swept

down a third of the stars of heaven, and cast

them to the earth. And the dragon stood before

the woman who was about to bear a child, that

he might devour her child when she brought it

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forth; she brought forth a male child, one who

is to rule all the nations with a rod of iron, but

her child was caught up to God and his

throne, and the woman fled into the

wilderness, where she was prepared

by God, in which to be nourished for one

thousand two hundred and sixty days3

Doctrine

Marian doctrine provides a foundation for her roles as intercessor, and “reveals the role of the Mother of Jesus in relation to Christ and His Church, [and] is in fact, a revelation of the person of Mary herself.”4 The first doctrine is Mary, Mother of God. For Catholics, “Mary is the

Mother of God because she is the Mother of Jesus who is God the son made man.”5 The doctrine of Mary, Mother of God also gives rise to her role as a suffering mother who empathizes with those who suffer because she herself suffered greatly. Accordingly, when the hardships of life occur, Mary is there to provide solace like a mother who consoles her children. This first doctrine also provides a foundation for Mary’s role as an intercessor. As such, she listens to the prayers of her devotees and advocates for their cause. For this reason, Mary’s devotees can relate easier to her than with God (the Father) because as a human mother, she is conceptualized as less daunting to approach. The second and third doctrines, the Immaculate Conception and Perpetual

Virginity respectively, together both provide a foundation for her role as a virtuous mother. God

3 The Navarre New Testament, Scepter Publishers Inc., 2001, 671-72.

4 Miravalle, Introduction to Mary, 33 . 5 Miravalle, 34.

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chose Mary from among all women to bring the savior into the world, and so prepared her by having her born without the stain of original sin. The doctrine of Mary’s perpetual virginity

(virgin before and after Jesus’ birth) gives credence to her as a moral person par excellence who offers herself as an example for all of humanity to emulate. Additionally, the doctrine of Mary’s perpetual virginity provides a basis for her role as a protector mother because it was by her willingness to live entirely for God that she received power to protect her children from the dangers of sin, and assure them of God’s mercy.

Since Mary is the Mother of Christ, her passing from this world to the next would involve some special privilege. The fourth Marian doctrine, the Assumption, states that when Mary had completed her life on earth, both her body and soul were taken up to Heaven. This doctrine gives rise to Mary’s role as an intercessor because by being with her son Jesus in heaven, she has immediate access to his mercy and love.

Virtues

Having knowledge of Mary’s virtues helps illustrate what it means to have a devotion to her, and hence an understanding of her roles as mother and intercessor. To begin, a virtue is a habit or power that enables a person to perform an action with facility and competence. The performed action is in accordance with right reason in dealings with God and others. The Virgin

Mary’s virtues are character traits that Catholics believe make her special and unique to the entire human race. There are ten Marian virtues that include deep humility, a lively faith, blind obedience, unceasing prayer, self-denial, purity, an ardent charity, patience, kindness, and wisdom. Although all of these could support Mary’s role as a mother, the virtues held in common with other human mothers (something tangible) include humility, deep faith, kindness, patience, and self-denial. These Marian motherly traits serve not only as models for mothers to emulate, but also as reason for her veneration. Devotees recognize the virtues of unceasing

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prayer, purity, ardent charity, and wisdom as providing support for Mary as an intercessor. Mary is a mother who prays constantly, has a pure heart, cares a great deal for her children, and possesses wisdom; another reason for having devotion to her.

Marian Devotion

Devotion may be defined as having the will to give oneself readily to the things that pertain to the service of God. Such Godly things include prayer; emotions while serving God; having an attraction towards a particular mystery or personage of the Christian faith; a formula of worship directed towards or in honor of a particular personage or mystery of the Faith, one of the popular devotions.6 Devotion to the Virgin Mary may be expressed by making a pilgrimage to a shrine, composing poems, creating artwork, or singing music in her honor.

A pilgrimage is a journey to a sacred place that is undertaken by a group of people (small or large) as an act of religious devotion. The puropose may be to venerate a sacred object or religious relic, to be in the presence of a holy person, to do penance or to offer thanksgiving in return for graces and helaings received. The earliest Christian pilgrimages occurred in the fourth century7 where pilgrims often traveled to the places that were part of Jesus’ life, or to the graves of the martyrs like Saints Peter and Paul. During the twelfth century, what the medieval historian

Gambero calls the “Marian Century,”8 pilgrims came to Marian to pray or to give thanks for receiving a favorable outcome to their prayers. In so doing, the religious lives of the people were transformed while they developed a sense of fellowship, common values and

6 A Catholic Dictionary, 146.

7 Robert Bartlett, Why Can the Dead Do Such Great Things?: Saints and Worshippers from the Martyrs to the Reformation (Princeton, Princeton University Press, 2013) 410-412 . 8Luigi Gambero, Mary in the Middle Ages: The Blessed Virgin Mary in the thought of Medieval Latin Theologians (San Francisco, Ignatius Press, 2005) 105.

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interests.9 Pilgrimages to Marian have continued throughout the centuries. Today,

Catholics from all around the globe travel to various Marian shrines for reasons mentioned above. Numerous Marian shrines in Latin America for example are visisted by millions of pilgrims annually. The most famous is that of “” in Mexico. However, the largest Marian shrine in all of Latin America is the Basílica do Santuário Nacional de Nossa

Senhora Aparecida (Basilica of the National Shrine of ) in the city of

Apaercida do norte, São Paulo, Brazil. So, the European-based tradition of making a pilgrimage to a Marian shrine continues in Brazil.

The most well-known Marian devotion in all of Brazil today is that of Nossa Senhora

Aparecida (“Our Lady who Appeared”). The reasons for this include historical accounts of encounters with pilgrims by foreign travelers in their diaries, proclamations and celebrations given by the Church in honor of Our Lady of Aparecida, and by miracle stories attributed to her by devotees. In the book Abbriviated History of the Sanctuary of Aparecida by Fr. Júlio João

Brustoloni, a Redemptorist10 missionary priest offers a detailed account of the historical development of Our Lady of Aparecida in Brazil.

Devotion to the image of Our Lady of Aparecida was popularized by the writings of foreign travelers who recorded their experiences with pilgrims during the 19th century in their travelogues. Fr. Brustoloni provides three excerpts in his book, one from an Austrian botanist, another from a French botanist, and one from a Portuguese journalist who lived in Rio de

Janeiro. These sources shed light on the people’s motivation for coming to the shrine during the

9 Gambero, Mary in the Middle Ages, 106.

10 In the year 1894, the Redemptorist missionaries were tasked with taking care of the needs of the many pilgrims who came to the Sanctuary. They preached popular Missions to the pilgrims that placed emphasis on conversion and having confidence in the intercession of Our Lady.

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19th century. In his diary from 1817 (100 years after the discovery of the image) the Austrian botanist Karl Friederich Philipp von Martius stated that “The miraculous image of Our Lady of

Aparecida attracts pilgrims from the whole provinces of São Paulo and Minas Gerais.11 French botanist Augusto de Saint Hilaire recorded in his travel diary in 1822 that “people come from

Minas, Goiás and Bahia to fulfill their promises made to Our Lady of Aparecida.” Finally, in

1861 Portuguese journalist Emilio Zaluar wrote: “the image of Our Lady of Aparecida, which shines from the main altar, seems to smile on all the unfortunate ones who call upon her, to whom she never refuses consolation and hope.12

The widespread popularity of devotion to Nossa Senhora Aparecida in Brazil is also seen in the celebrations sponsored by, and proclamations issued from, the Catholic Church.

Celebrations like the inauguration of the Central Brazilian Railroad in 1877, and the celebration to mark the turn of the century in 1900 caused the numbers of pilgrimages to the image to increase.13 Other notable celebrations have included the Feast of the Coronation of the image in

1904, the 200th anniversary of finding the image in (1717-1917), and in 1929, the Silver

Crowning Jubilee (1904-1929) which was commemorated with a Marian Congress.14 Each of these Church sponsored celebrations were well attended by both clergy and lay people. As significant as these events were to increasing an awareness of devotion to Nossa Senhora in

Brazil, it was the insertion of proclamations about Mary under this image that consolidated the population as a Marian one. In 1930, for example, Pope Pius XI declared Our Lady of Aparecida

11 Fr. Júlio João Brustoloni, Abbriviated History of the Sanctuary of Aparecida, 30.

12 Brustoloni, 30-31 . 13 Brustoloni, 31 . 14 Brustoloni, 41.

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as the Patroness of Brazil. However, according to Fr. Brustoloni, it was the celebration a year later (May 31, 1931) in Rio de Janeiro that made both the Sanctuary and image of Our Lady of

Aparecida known on an even greater, national scale. Gathered at this event were approximately one million people that included civil, military and ecclesiastical authorities, the Papal , and the President of Brazil, Getúlio Vargas.15 Two years later, the CNBB (Conferência Nacional dos Bispos do Brasil) declared October 12th the Feast Day of the Patroness of Brazil. Along these same lines, a Marian year was inaugurated in 1972 to commemorate Brazil’s 150 years of independence in which pilgrimages were organized from dioceses, parishes, lay organizations, ethnic, and professional groups throughout the country.

In addition to such historical events, I suggest that the most significant cause for continuing widespread devotion to Nossa Senhora Aparecida are the many miracle stories that today’s pilgrims share with each other. There are as many stories as there are devotees. Among the most popular varieties are surviving a traffic accident, healing from cancer, a successful outcome to surgery on a limb, and the return of good health to an infant or child.

Annual pilgrimages to the National Shrine are routine for many Pouso Alegrenses. As one person told me, “On October 18th and 19th, twenty-five busses of pilgrims from Pouso

Alegre go to Aparecida do Norte. These people are very devoted to Nossa Senhora. Many go there with their families, many marry there.”16 I have been to the National Shrine in Aparecida three times. Although each visit could be considered a pilgrimage, my most recent trip in June of

2015 was one in the truest sense because my intent from the beginning was to share in the experience with my fellow pilgrims.

15 Ibid, 42.

16 Antônio Célio Rios de Andrade, author, personal interview, June, 2014.

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There are two in existence at the National Shrine, one old the other new. Both old and new basilicas (see Figures 2-1 and 2-2 respectively) are considered by Brazilians to be houses of Mary. The physical presence, architectural beauty, and liturgies of each testify to the

Church’s understanding for the importance of encouraging veneration of the mother of Jesus.

Figure 2-1. The Old Basilica, testament to early Marian devotion (photo by author).

Figure 2-2. The New basilica, a modern version of the “House of the Mother” (photo by author).

While on pilgrimage, I interviewed several pilgrims who were staying at my hotel, the

Rainha do Brasil (“Queen of Brazil”). One couple in particular, Marizete de Fátima Gonçales

Corrêa and her husband Luiz Silvaldo Corrêa, provided an excellent insight into the mind of typical pilgrims encountered here. Marizete and her husband are from the city of Vitória in the state of Espírito Santo, and they have been coming to Aparecida for ten years. Marizete

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explained that the reason she comes is “to fill her-self up spiritually, to become stronger every day, and to look for strength to fight the battle.”17 Her husband Luiz told me that they come to give thanks for the blessings that they have received over the years. One of the blessings they received was what they consider a miracle. Some years ago their son was in a serious motorcycle accident. He had been trapped underneath a truck, and somehow had managed to survive. He did however sustain a broken jaw, torn ligaments, and a back injury. Nevertheless, both Marizete and

Luiz were grateful that he had survived, and they attribute this to the protection of Nossa

Senhora.

Pilgrims come to the National Shrine to give thanks for the blessings that they received from Nossa Senhora Aparecida. Giving thanks to Mary is expressed in a variety of ways. One popular way is by purchasing and offering an ex-voto.18 The Shrine has a room designated for the display of ex-votos, the Sala Das Promessas, or “Room of Promises” (see Figure 2-3).

Figure 2-3. The “Room of Promises,” a place to display gratitude to Mary (photo by author).

17 Marizet de Fátima Gonçales Corrêa, personal interview, Aparecida, June, 2015.

18 An ex-voto can be a photograph of a person a trophy, a pair of soccer cleats, a musical instrument, or it can be a replication of a hand, arm, leg, etc.

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Marizete’s husband Luiz said to me “this time we are here more to give thanks than we are to ask for blessings.”19 He further explained that on this particular occasion they were looking for a left hand ex-voto (see Figure 2-4) or votive candle to light in order to show their gratitude for their son’s mother-in-law who had just had a successful surgery on her left hand.

Figure 2-4. Ex-Votos of hands and arms offered to Mary in gratitude for healing (photo by author).

Mary in Poetry

In European history, devotion to the Virgin Mary dates back to the writings of saints

Alcuin (d. ca. 804), and Bernard of Clairvaux (d. 1153). Alcuin expressed his deep love for Mary through his poetry. Whenever he addressed a prayer to the Virgin, it was always in verse. He believed that only poetry was able to celebrate and invoke her, as she deserved.20 The medieval scholar Gambero includes a poetic supplication by Alcuin that illustrates both his affection for, and trust in the Virgin Mary:

To me you are my dear love,

19 Luiz Sivaldo Corrêa, personal interview, June, 2015.

20 Luigi Gambero, Mary in the Middle Ages (San Francisco, Ignatius Press, 2005), 63.

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my beauty, the great hope of salvation.

Help your servant, O most glorious Virgin.

My voice tells of you tearfully; my heart

burns for love. Give heed as well to the

prayers of all my brothers who cry

unto you: O Virgin, you are full of

grace; through you may the grace

of Christ ever preserve us.21

Like Alcuin, St. Bernard had a gift for speaking about the Virgin Mary in prose. In fact,

“tradition has named him the ‘Champion and Singer of the Virgin.’”22 In his Marian Christmas poem titled “Faithful , rejoicing sing,” for example, he venerates Mary by referencing the doctrines of Mary, Mother of God and her perpetual virginity, as the text below illustrates:

Faithful choir, rejoicing sing

Alleluia!

A Virgin bore the King of Kings,

O most wondrous thing!

Alleluia!

From the Virgin’s womb,

Alleluia!

The Angel of Great Council comes,

From a star, the Sun at noon-

21 Gambero, 62-63.

22 Gambero, 131.

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Alleluia!

That Sun which shall never set,

Alleluia!

That Star shall grow brighter yet,

One the other’s coronet,

Alleluia!

The towering Cedar of Lebanon,

Alleluia!

The hyssop of the vale has drawn, Alleluia!23

Mary in Visual Art

Many artists throughout the centuries have portrayed the Virgin Mary in paintings and sculpture. These works are often rooted in Church doctrine, as well as scenes from Jesus’ birth, and death. Among the most popular doctrinal representations are those that reference Mary’s

Immaculate Conception. The Flemish artist Peter Paul Ruben (1577-1640) for example, painted a work titled “The Immaculate Conception.” In Ruben’s portrayal of this doctrine, Mary appears over the earth while standing on a serpent that represents the devil. She is wearing a red dress with a blue mantle, with a crown of stars on her head. There are two angles on either side of

Mary, one holding a palm frond, the other a laurel-leaf crown that represents her triumph over the devil. This painting (see Figure 2-5) represents a visual acknowledgement of Mary being born without the stain of original sin, therefore having the power to conquer evil. Devotees of the

23 Johann Moser, O Holy Night! Masterworks of Christmas Poetry (Manchester, Sophia Institute Press, 1995), 31.

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Virgin Mary are quite aware of her ability to ward off evil, so they run to her in times of temptation. The painting is located in the Museo Del Prado in Madrid, Spain.

Figure 2-5. Peter Paul Ruben’s “The Immaculate Conception.”

Scenes from Jesus’ birth and death are a second and third source of inspiration for Marian artworks that inspire devotion. The Italian artist Giotto di Bondone (1266 - 1337) included a depiction of the “Nativity” (see Figure 2-6) in his frescos that adorn the Scrovegni Chapel in

Padua, Italy. In this work, Mary appears lying down holding her baby Jesus. To Mary’s left is another woman helping to support the infant. Perhaps she is Mary’s cousin Elizabeth. In the lower foreground, Joseph appears seated and in deep thought. His expression is one of concern for what will happen to this child and Mary, as well as the realization of the awesome responsibility entrusted to him. Appearing above the mother and child is a choir of angels. Only one angel (the center one) is looking at Mary and the baby Jesus, while the others are gazing attentively to the right, perhaps in communication with God. Off to the right are two shepherds, one looking at Jesus and Mary, the other at the angels above. On the left, the ox and ass appear to be giving homage to the newborn babe, while the sheep to the right lie peacefully. The entire

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scene represents the fulfillment of God’s promise to bring hope to humankind through the

Virgin.

Figure 2-6. Giotto’s “Nativity.”

Although many artists throughout history have portrayed Jesus’ death, the most sublime work from this category is Michelangelo’s “Pieta” (see Figure 2-7). In this marble sculpture, the artist captures an emotional relationship between a mother and her child. Mary, with her head slightly lowered cradles the lifeless body of her son Jesus in her lap. Her right arm supports his head and her right hand his upper torso. Mary’s left arm and hand are not touching Jesus, but her palm is facing upward suggesting her resignation to God’s mysterious will. Jesus appears as if he is asleep rather than deceased. His body does show some bruising, one can see the nail holes in both his right hand and foot, however, not to the point of being realistic with the kind of punishment he endured prior to and during his crucifixion.24 The curious inclusion of the sawed-

24 The beauty of the human form was one of the Renaissance artist’s defining characteristics.

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off stump, under Jesus’ left foot, has been interpreted by certain art historians as symbolizing a life that although has been cut short, retains the potential for new growth, a beginning again.25

Figure 2-7. Michelangelo’s “Pieta.”

Michelangelo’s “Pieta” identifies Mary’s role as a human mother who experienced the greatest loss imaginable, the death of her own child. The powerful scene created by

Michelangelo is so moving because Mary appears to be contemplating how often she cradled

Jesus as a child, and is now holding his lifeless body. Even so, the work does communicate

Mary’s strong faith, and trust in God. With this understanding and appreciation, her devotees believe that she, through her suffering and consequent empathy for them can bring healing to whatever hardship in which they find themselves. The work is located in St. Peter’s Basilica,

Vatican City.

There is no shortage of Marian artwork in Brazil, particularly in southern Minas Gerais.

One difference however, is that most of the artwork occurs in the form of statuary not paintings, and many of the artists are anonymous to the population. Still, the familiar subjects of the Virgin

25 Rumy Hilloowala and Jerome Oremland, The St. Peter's "Pietà": A and Child? An Anatomical and Psychological Reevaluation, Leonardo, Vol. 20, No. 1 (1987), 91.

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Mary portrayed by herself, with Jesus (as an infant, or in crucified state), with the

(Jesus and Joseph), or with other saints remain common. One familiar depiction of Mary is that of the Immaculate Heart. The devotion to Mary’s immaculate heart focuses on the interior life of

Mary, namely her joys, sorrows, virtues, love of her son Jesus, God, and all of humanity. In

Pouso Alegre, there is a church named after Mary’s Immaculate Heart, O Santuário do

Imaculado Coração de Maria, the Sanctuary of the Immaculate Heart of Mary (see Figure 2-8).

Figure 2-8. The Sanctuary of the Immaculate Heart of Mary, Pouso Alegre, MG (photo by author).

Figure 2-9. Mary, the Immaculate Heart and the crucified Jesus accompanied by angels (photo by author).

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There are two principal images of Mary’s Immaculate Heart located in the church. One is above the altar, where she is depicted with her crucified son, Jesus (see Figure 2-9), the other, Mary by herself, is located near the entrance of the church (see Figure 2-10).

Figure 2-10. Devotional image of the Immaculate Heart of Mary (photo by author).

Figure 2-11. Metropolitan Cathedral of Bom Jesus Pouso Alegre, MG (photo by author).

The principal Catholic Church in Pouso Alegre is the Metropolitan Cathedral of Bom

Jesus, or “Good Jesus” (see Figure 2-11). The interior of this church is decorated with beautiful

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artworks that depict Jesus, Mary and the saints. In addition to the artwork that adorns the altar are those that beautify the side altars. These side altars exist for personal devotion, and are dotted throughout the church. Common subjects of the art include Jesus, Brazil’s patroness Nossa

Senhora Aparecida (Our Lady who Appeared), and saints Benedict the Moor (see Figure 2-12).

St. Benedict the Moor (known as São Benedito) was born of African slave parents, but was freed at birth. He became a Franciscan friar in Sicily who, because of his charitable heart, was quite popular among the people. Catholics of Afro-Brazilian heritage especially honor him because he was an African whose parents were slaves. On his feast day of April 4, many people celebrate by participating in the Congado.26 The saint is depicted holding the baby Jesus.

Figure 2-12. The child Jesus, Nossa Senhora Aparecida and St. Benedict the Moor (photo by author).

Other common images of saints include St. Anthony and St. Sebastian (see Figure 2-13).

Catholics honor St. Anthony because he had a reputation of being a good preacher who also loved the poor. The fact that he was born in Lisbon, is most likely another reason why

Brazilians have adopted him as one of their own saints. Like St. Benedict the Moor, St.

26 A congado is a Feast Day celebration of the Crowning of Our Lady of the Rosary, and includes dancing, singing, and a coronation of a king and queen of the festival.

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Anthony is also depicted holding the infant Jesus. Brazilian Catholics celebrate Saint Anthony, along with saints John and Peter during the Festa Junina.27 St. Sebastian was martyred for being a Christian during the persecution under the Roman emperor Diocletian. When the emperor discovered that Sebastian was a Christian, he ordered him tied to a tree and shot to death with arrows. Saint Sebastian is the patron saint of the city of Rio de Janeiro, and his image appears in many Catholic Churches throughout all of Brazil.

Figure 2-13. St. Anthony with baby Jesus, St. Sebastian, and Mary (photo by author).

The nearby city of Borda da Mata (Forest Edge) has a much smaller, more rural population than Pouso Alegre. The patroness of the city is Nossa Senhora do Carmo (Our Lady of Mount Carmel), so naturally the Catholic Church in the main square shares the same name. As is the case with the Sanctuary of the Immaculate Heart of Mary in Pouso Alegre, the artwork above the main altar identifies the specific type of devotion to Mary. Here, Mary appears in

27 The Festa Junina is a communal celebration of Saints Anthony, John the Baptist, and Peter. It is also a time set aside for appreciating one’s rural roots. The festivities occur during the month of June (the beginning of winter), and include singing, dancing, a mock wedding, and dressing up like farmers (Caipira). The people also enjoy traditional food, and drink. The festival was introduced to Brazil by the Portuguese during colonial times, and is celebrated nationwide.

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Carmelite garb (with scapular) holding the infant Jesus, while two angels pay homage to both her and her son below, one to her right the other to her left (see Figure 2-14).

Figure 2-14. Basilica of Nossa Senhora do Carmo, Borda da Mata, MG (photo by author).

Figure 2-15. The image of Nossa Senhora da Saúde Poços de Caldas, MG (photo by author).

Directly north of Pouso Alegre is the city of Poços de Caldas (wells of thermal waters).

The city is similar in size and population to that of Pouso Alegre. Tourists come from all over

Brazil to experience the waters believed to have healing powers. The main Catholic Church is the Basílica Nossa Senhora da Saúde (the Basilica of ). The image of

Mary as Our Lady of Good Health appears over the altar with the image of Jesus depicted in stained glass above. Here, Mary appears in a blue and green dress with a cross

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around her neck and a golden crown atop her head. She is holding what appears to be an olive branch in her right hand, while her left hand is placed over her heart. The expression on her face is one of a concerned mother (see Figure 2-15).

The city of Itajubá is located approximately 70 kilometers to the southeast of Pouso

Alegre. It is smaller in both area and population. The economy is based on industry and agriculture, and is home to the Federal University of Itajubá. There are several Catholic

Churches in the city; however, the Santuário Nossa Senhora da Agonia (Our Lady of Agony) is unique in both its modern design and detailed artwork. To begin, the church is in the round, the dome-shaped top consists almost entirely of glass, and there are many more windows than one would normally encounter in a typical Catholic Church (see Figures 2-16 and 2-17).

Figure 2-16. My wife Filomena at Our Lady of Agony Church Itajubá, MG (photo by author).

Figure 2-17. Inside the Church (photo by author).

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The devotional image of Nossa Senhora da Agonia (Our Lady of Agony) comes from

Portugal, and dates back to around 1700. Fishermen from the coastal city of Viana do Castelo implored and/or thanked the Virgin Mary under this title for protection and guidance. Our Lady of Agony is so named so because of the perils the fisherman had to deal with on the sea. Nearly two centuries later, a Portuguese man named Antônio de Lima Costa, who had a strong devotion to Nossa Senhora da Agonia immigrated to Brazil. Costa had an image carved and brought to

Itajubá. For many years, the image was kept at the church of Nossa Senhora da Soledade (Our

Lady of Solitude), but in the early 2000s was transferred to the existing church. As was the case of the location of Marian images in previously mentioned Churches, the statue of Our Lady of

Agony is positioned behind the altar (see Figure 2-18).

Figure 2-18. The image of Our Lady of Agony behind the main altar (photo by author).

In this image, Mary appears to be crying, and has both her hands crossed over her heart. She is wearing a blue mantle, and a crown with seven stars adorns her head (see Figure 2-19).

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Figure 2-19. Close-up of Nossa Senhora da Agonia (photo by author).

Mary in Music

Many composers in the Western tradition have honored the Virgin Mary with numerous

Marian antiphons,28 , and songs. Of all the music that has been composed for the Virgin

Mary throughout the centuries, “the antiphons illustrate [and reiterate] Church doctrine, and were sung in many places during the fifteenth and sixteenth centuries, at every evening after

(night prayer), at the so-called Salve services, and for other Marian devotions as well. With such opportunities, these antiphons were set innumerable times [in the form of motets] by virtually every composer of the fifteenth and sixteenth centuries.”29

These Marian motets serve a dual purpose. First, they function as musical reiterations of

Marian doctrine, which offer an historical perspective on her roles. Second, they serve as foundational models for later composers of Marian song via the techniques employed. One

28 A Marian is a from the repertory that is sung in honor of the Virgin Mary. The four Marian antiphons are the Alma , , , and Salve Regina.

29 Howard Mayer Brown, The Mirror of Man's Salvation: Music in Devotional Life about 1500, Renaissance Quarterly, Vol. 43, No. 4 (Winter, 1990), 752.

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famous composer of Marian motets is Josquin des Prez (ca. 1440 - 1521). According to Rifkin,

Josquin’s motet tilted Ave Maria, Virgo Serena (“, Serene Virgin”) is one of his most definitive works.30 It is an excellent example of early music that illustrates Marian doctrine and continues to inspire devotion.

Ave Maria, Virgo Serena is a work for four-part choir that occurs in three sections, two large (mm. 1 - 93, and 94 - 141 respectively), and a short codetta (mm. 142 - 155). “The text is a rhymed, metric, five-strophe hymn (see below), framed at the beginning by the opening text of a sequence (Ave Maria, virgo serena, gratia plena, Dominus tecum) and at the end by an independent phrase (O Mater Dei, memento mei, Amen.).31

Each strophe corresponds to the five feasts of the Virgin (Conception, Nativity,

Annunciation, Purification, and Assumption),”32 which relate to all four Marian doctrines.

The first strophe, the feast of the Conception makes reference to the doctrine of the Immaculate

Conception (see text below), while the feasts of the and Nativity, of strophes 2 and

3 (see below) illustrate the doctrine of Mary, Mother of God. In strophe 4, the feast of

Purification reiterates the doctrine of Mary’s Perpetual Virginity (see text below), while in strophe 5, the feast of the Assumption relates to the doctrine with the same name (see below).

1. Ave cujus conceptio, 1. Hail thou whose conception,

Solemni plena gaudio, full of solemn joy,

Coelestia, terrestria fills heaven and earth

Nova replet laetitia. with new happiness.

30 Joshua Rifkin, "Munich, Milan, and a Marian Motet: Dating Josquin's Ave Maria," Journal of the American Musicological Society, 56 (2003), 239-350.

31 Cristle Collins Judd, Some Problems of Pre-Baroque Analysis: An Examination of Josquin’s ‘Ave Maria Virgo Serena,’ Music Analysis, Vo. 4, No.3, 1985, 205.

32 Judd, Some Problems of Pre-Baroque Analysis, 205.

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2. Ave cujus nativitas, 2. Hail thou whose birth,

Nostra fuit solemnitas, was our solemn celebration,

Ut Lucifer lux oriens, like Lucifer the Eastern (star of light),

Verum solem praeveniens. foretelling the rising of the true Sun.

3. Ave pia humilitas, 3. Hail blessed humility,

Sine viro foecunditas, fruitful without man,

Cujus annuntiattio, thou whose annunciation,

Nostra fuit salvatio. has been our salvation. 4. Ave vera virginitas, 4. Hail true virginity,

Immaculata castitas. Immaculate chastity,

Cujus perificatio, whose purification,

Nostra fuit purgatio. has been our cleansing.

5. Ave praeclara omnibus 5. Hail thou most glorious

Angelicis virtutibus, among all angelic virtues,

Cujus fuit assumption, she whose assumption has been,

Nostra glorificatio. Our glorification.

In Ave Maria, Josquin uses techniques like contrasting textures (homo-rhythmic verses imitative, and duets verses full choir), and meter changes to portray Marian doctrine. The first doctrine that Josquin emphasizes is the doctrine of the Immaculate Conception. In measures 40-

54 (second, third and fourth phrases of the first strophe), he uses the technique of contrasting textures to portray this doctrine by changing the texture from a mostly homo-rhythmic one (mm.

40-44) to a highly imitative one (mm. 44-53). The text tells of the happy reaction of both angels and men to Mary’s being born without the stain of original sin (see Example 2-1).

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40 ↓ (41) ↓ 45

48 50

Example 2-1. Contrasting textures used to help portray the doctrine of the Immaculate Conception.

The composer depicts the doctrine of Mary, Mother of God in measures 78-93 (third strophe) by reducing the texture from full choir to an alternating duet in imitation between the top two voices and the lower two. In phrase, one (measures 78-81); the upper two voices begin with the text Ave pia humilitas, which translates to “Hail, holy humility.” Next, in measures 81-

84 (second phrase) the lower two voices, overlapping with the upper two, imitate at the octave with the text sine viro foecuditas, or “fruitful without man.” Both phrases emphasize the belief

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that Mary was a humble virgin who although she “knew not man,” was told by the angel that she was chosen to give birth to a son, the Redeemer. In measures 84-93 (third and fourth phrases), the two upper voices re-enter with the text Cujus annuntiatio or “thou whose annunciation,” and the lower two (overlapping with the upper two voices again) finish the phrase with Nostra fuit salvation, which translates to “has been our salvation” (see Example 2-2).

78 ↓ 81 84↓

86 88 91

Example 2-2. Alternating duet textures in imitation emphasize the doctrine of Mary, Mother of God.

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In measures 94-110, Josquin begins his portrayal of the doctrine of the Perpetual

Virginity of Mary with a change from duple to triple meter in the first measure. All four voices share the same text (strophe four), and with the exception of the tenor, move in a predominantly homo-rhythmic fashion (see Example 2-3).

94 ↓ ↓ 97 ↓

100 ↓ 105

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106 109

Example 2-3. Triple meter and homo-rhythmic texture aid in portraying the doctrine of Mary’s perpetual virginity.

One final interesting observation to make about this piece is how, in measures 143-151,

Josquin personalizes his relationship with the Virgin Mary by rendering the meaning of the text with the employment of a homo-rhythmic texture and longer note values; thus, making it easier for the listener to understand. The text that conveys this sentiment is O Mater Dei, Memento mei, which translates to “O Mother of God, Remember me” (see Example 2-4).

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148 152

Example 2-4. Homo-rhythmic text setting with longer note values signifiing the composer’s affection for Mary as the Mother of God.

Josquin des Prez’s “Ave Maria” is an example of an early European Marian composition that inspired devotion by emphasizing Church doctrine. Contemporary Brazilian songwriers, like

Renato Teixeira,33 express devotion to Mary by shifting the emphasis from a predominantly doctrine-based one to one that focuses on a personal relationship with her.

Romaria, a Pilgrim’s Song

The song most often associated with pilgrimages is Teixeira’s song titled “Romaria” which emphasizes a relationship between a want-to-be devotee and the Blessed Mother. The man mentioned in the song is at his “rope’s end,” and has heard that by traveling to Aparecida to ask

Nossa Senhora for guidance he can find hope for a new beginning. Although written in 1973,

“Romaria” became a beloved song through the performance of one of Brazil’s greatest singers,

Elis Regina in 1977. Except for Elis’ iconic performance, why this song is so beloved by

Brazilian Catholics was a mystery to me at first because of its surface-level pop-country subject

33 Renato Teixeira (b.1945) is a well-know Brazilian composer-singer who authored many hit songs like “Romaria”, “Tocando em frente”, “Dada Maria”, “Frete”, “Amanheceu”, and Rapaz caipira”.

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matter and overall secular tone. However, after interviewing several people, I discovered that the song captures the story of the lives of many Brazilians. The question was posed to two pilgrims and composer Sister Míria Kolling who was in Aparecida do Norte presenting her music as part of a celebration of her having complered 45 years of writing music for the Catholic liturgies in

Brazil. Among the two pilgrims were Marizete de Fátima Gonçales Corrêa (mentioned above), and Elena Martins Ferreira, who was on pilgrimage with her mother, Maria. Elena and Maria are from Rio de Janeiro, and have been coming to Aparecida since 1968. Elena explained that the reason the song resonates so much with Brazilians is because the lyrics mention Nosssa Senhora

Aparecida by name. According to Marizete de Fátima Gonçales Corrêa, the song “Romaria” tells of the suffering and struggles that many Brazilians go through, and that they come to the

National Shrine bringing their concerns. Sister Kolling responded to the question by stating, “I think that the reason is because she is the patroness of Brazil, because the Brazilian people have a lot of devotion to Nossa Senhora as a patroness, and also because we are looking for a mother who can help, protect, and bless us.”34

The song “Romaria” presents a powerful aural image because it invokes a metaphorical association between making a pilgrimage to the National shrine with the paths that people travel throughout their lifetime. “Romaria” occurs in a narrative format with some introspective reflections interspersed. The lyrics depict the dreams of a man from the countryside who is seeking a better life for himself. Verse one’s lyrics set the initial tone of the song, one of dissolution and suffering, caused by the failures in this man’s life. According to Mota,35 this

34 Sister Míria Kolling, personal interview, Aparecida, June, 2015.

35 Ana Roquel Motta, Romaria: uma análise semiótica, Significação 27, 151-168.

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solitary, rural man at first has no true destination. He seems to be wandering through life. The following English translation comes from my niece Larissa Rigotti Rissatti:

Verso 1 Verse 1

É de sonho e de pó, o destino de um só, It is of dreams and dust, the destiny of the

lonely,

feito eu perdido em pensamentos, as I am lost in thoughts,

sobre o meu cavalo riding on my horse

É de laço e de nó, de gibeira o jiló It is made with lassos and knots, in

my pocket, the bitterness

dessa vida, cumprida a só of this life for [he] who works in the sun.

The refrain occurs in two halves; in the first, the subject identifies himself to the Virgin

Mary as a caipira (hillbilly), and gives reference to the city of , which (along with

Aparecida) is belived to be a city of miracles. In the second, he makes supplication to Mary for guidance. During the first half of the refrain, Texeira plays with the sound of the text (hence the listener’s expectation) by placing the words caipira, pirapora, and nossa (our) in immediate succession, then following with an eighth rest and ascending skip of a major ninth before finishing the full four-measure phrase with the words Senhora de Aparecida. Additionally, what makes this melody so interesting is the composer’s sound play on the words caipira and

Pirapora, and the placement of the word Nossa. Texeira exploits the fact that the second and third syllables of cai-pi-ra and the first two syllables of Pi-ra-pora are identicle and therefore sound the same. By placing them in succession, the resulting sound approaches something similar to a vocable, which to the outsider seems nonsensical, yet is full of meaning for

Brazilians. The word nossa functions to conclude the first semi phrase while linking to the

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second in meaning. In the first semi phrase, the singer states that he is a country person and that

Pirapora is part of both his and his people’s religious identity. In the second semi phrase, he suggests that the city of Aparecida and the miracles associated with the Virgin Mary are also an important part of the country person’s life experiences. All of these factors combine to produce a powerful, multi-layered initial melodic hook (see Example 2-5).

Example 2-5. The melodic hook, an important factor for the song’s popularity.

In the second half of the refrain, the author continues to capture the imagination of the listener/or performer by making use of a double metaphor, the path that the person’s life has taken and continues to take, and the train that represents their own life journey; albeit in transit like a person on a pilgrimage. In both instances, the man is pleading with the Virgin for help (see

Example 2-6). The following translation is also from Larissa Rigotti Rissatti:

Ilumina a mina escura enlighten my dark path

e funda, o trem da minha vida. and sustain the train that is my life.

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Example 2-6. The song’s protagonist asks Mary to help illuminate his path to a happier life.

The iconic status of Teixeira’s “Romaria” is further reinforced on television shows that air on the charismatic Catholic television channel, Canção Nova. For example, the show Manhã

Viva (Morning Live) originally aired on October 11, 2011 (one day prior to the Feast Day of the

Patroness Saint of Brazil), featured interviews of pilgrims at the National Shrine. Canção Nova36 reporter Verônica Suenia interviewed several pilgrims about the significance of Nossa Senhora

Aparecida in their lives. During the interviews, the song “Romaria” could be heard quietly playing in the background. Verônica opened her segment by stating: “faith, devotion, motivation; the multitudes of the faithful come from various places in Brazil to be here in the National

Sanctuary of Aparecida, especially during the month of October when we remember the feast of the patroness of Brazil.” She added, “The manifestations of faith are marked by the sincerity and simplicity of the people.” Verônica’s first interviewee was an older woman who told her “I am so happy when I come here to sing. Nossa Senhora Aparecida appeared out of the water and into our hearts.” The next person she interviewed was another older woman who was grateful for the graces that she had received. She told the reporter “Thanks to Nossa Senhora, I am able to walk again. She helped me to walk.” Another person interviewed by Verônica was a young woman who explained where she had received her devotion to Mary. She explained, “It comes from my father who had a lot of faith, and he passed in on to us [children].”

36 Canção Nova is a large charismatic community located in the city of Cachoeira Paulista, São Paulo. In addition to its own television station, is a website, and college. The community’s founder is Monsignor Jonas Abib.

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An additional point the reporter made was that many people continue to come to the shrine year after year to give thanks for the favors that they prayed for and had received. Here is how a middle-aged woman responded when asked why she came for a second time: “I was here in April, asking for help for my daughter who had surgery for breast cancer. It has been one year since she has been cured.” Then, while folding her hands in prayer and looking up she said “I am thankful to my mother.” Although the majority of people interviewed were women, Verônica also interviewed a few men. The most notable response came from a middle-aged man who said,

“I have been coming here to Aparecida for more than six years.” Then with much emotion in his voice, he finished by saying “I feel good with every year that passes, me and my family.”

Conclusion

The discussion in this chapter has centered on the identification of the Virgin Mary as an essential figure to the Catholic faith. The official Church in Rome has emphasized Mary’s role in salvation through leading people to Jesus. The Church has taught, and still teaches, this concept in the form of doctrine, and support through poetry, artwork, music, and papal writings.

Visual and musical Marian devotional expressions in Brazil have roots in the official,

European Catholic heritage. All of the artwork and music in the Churches established from the colonial period (1500-1822) forward reflect the influence of European expressions. The typical artwork subject matter of Jesus, Mary and the saints in visual art found in Catholic Churches all over Europe also decorate Churches throughout Brazil. Paintings and sculptures of Mary from

Europe like Ruben’s “The Immaculate Conception of Mary”, Giotto’s “Nativity”, and

Michelangelo’s “Pieta” have provided models of inspiration for the decoration of Churches in

Brazil as similar artwork capturing Mary’s purity, gentleness, and suffering adorn many

Churches. These icons of the Virgin Mary remind Brazilian Catholics of her role as a mother, not

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only as God’s mother, but also a human example that they can identify with, and one whose virtues when emulated enable a person to become closer to God.

The beauty of music has the power to teach and reinforce Marian doctrine. Josquin des

Prez’s motet Ave Maria, Virgo Serena reinforces the Marian doctrines of Mother of God, and that of her Perpetual Virginity. The composer accomplishes this by employing compositional techniques like contrasting textures and symbolic meter changes. Josquin’s work has inspired composers who came after him like Monterverdi, Pergolesi, Domenico Scarlatti, J.S. Bach, and

Haydn. These composers in turn inspired early Brazilian composers like the Mineiro José

Joaquim Emerico Lobo de Mesquita, and the carioca Fr. José Mauricio Nunes Garcia. In turn, these composers provided an initial Brazilian Marian repertory from which later composers and songwiriters could draw their inspiration.

Today’s Brazilian compose songs that not only emphasize Marian doctrine, but also that of a personal relationship with the Virgin. This relationship resembles one that a son or daughter has with his or her own mother. Songs that reference devotion to Nossa Senhora

Aparecida frequently include asking her for guidance. One such song is Renato Teixeira’s

“Romaria.” In it, Teixeira’s story of a man who is lost could be anyone elses, and for this reason speaks to many Brazilians who are struggling through life. The song “Romaria” gives people hope as it presents Mary as an illuminating path to Jesus, and consequently, heaven. In the following chapter, the discussion turns to an explanation of the role that Marian songs have played in the historical origins of Marian values in Brazil.

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CHAPTER 3 MARIAN SONGS AND THE HISTORICAL ORIGINS OF MARIAN VALUES IN BRAZIL

This chapter explains the historical origins of Marian values and the role that Marian songs have and continue to play in perpetuating them in current-day Brazil. This chapter will link religious aspects and doctrine that have been used in song texts and compositional techniques in support of this process. Like the devotions “Our Lady of Guadalupe” in Mexico, and “Our Lady of Fátima” in Portugal, Brazil’s “Our Lady Who Appeared” is held in high esteem, being represented in both image and song. During the colonization of Brazil, Portuguese artists created statues and paintings of Mary, and brought them to the colony. Later monks and artists living in

Brazil copied them. These icons were a visible, tangible means of faith for both religious officials and laity alike. In a similar manner, Portuguese priests brought Marian songs to Brazil.

These songs functioned as aural representations of the Virgin Mary’s presence. Over time,

Brazilian-born priests, nuns, and members of the lay brotherhoods (irmandades) composed songs to Mary, and not unlike their visual counterparts played an important role in the spreading and strengthening of devotion to the Mother of Jesus, both doctrinally and on a personal level. This story of devotion, intermingled with the Portuguese and Spanish Crown’s desire to conquer distant lands and display signs of power, begins with an incredible journey across the Atlantic

Ocean.

The Virgin Mary, Protector of Missionaries and Navigators

Beginning in the late fifteenth century, the Spanish and Portuguese explorers brought with them a Catholic faith steeped in devotion to the Virgin Mary. Marian devotion became a unique vehicle for establishing a post-Tridentine Catholicism.1 While contested by Protestants in

1 Stevens-Arroyo, “Evolution of Marian Devotionalism” within the Christian and the Ibero- Mediterranean Polity,” Journal of Scientific Study of Religion, Vo.37, no.1 (1998), 64.

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Catholic Europe, in Latin America it found a fertile garden in which to flower. The explorers and passengers on these sailing vessels prayed and sang to Mary for safe passage across the Atlantic Ocean. The Virgin Mary was beseeched not only to protect the ships, but also the missions of explorers like Christopher Columbus, Amerigo Vespucci, Vasco da Gama, and

Pedro Álvares Cabral. Their presence on the ocean marked the beginning of a European colonization of the Americas and evangelization of European settlers, and its indigenous and enslaved peoples.

Like other explorers from the Iberian Peninsula, Pedro Álvares Cabral (1467 - 1520) looked to the Virgin Mary for protection from the unknown. In the year 1500, Cabral and his fleet set sail from Lisbon to retrace Vasco da Gama’s rout to but were blown off course, and on April 22 reached what is now the southern coast of the state of Bahia, Brazil. They named the new land Vera Cruz (“True Cross”). In search of a safe location to land, Cabral traveled north to a small harbor, which his men named Porto Seguro (Safe Port).2 Shortly after Cabral’s expedition arrived off the coast, the first Catholic mass was celebrated with the indigenous people present. The initial reaction of the natives was that of fascination.3 The images and rituals that the indigenous population witnessed that day likely reminded them of their own sacred symbols, opening up a space of curiosity about the Christian faith.

The Virgin Mary and the Jesuit Missionaries

Zeal for the Virgin Mary accompanied the evangelizers in their catechizing and converting the indigenous people of Brazil. Nearly fifty years after Cabral’s “discovery,” King

João III sent the first Jesuit missionaries, under the leadership of Father Manoel da Nóbrega

2 Page, The Brazilians, 38.

3 Robert Levine and John Crocitti, The Brazilian Reader, (Durham: Duke University Press, 1999), 21.

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(1517 - 1570), to Brazil to spread the faith. The Jesuit priests João de Azpilcueta (1521/1523 -

1557), José de Anchieta (1534 - 1597), and Nóbrega began their evangelizing efforts by teaching the natives about the Blessed Mother and the saints. Father Azpilcueta evangelized through music. He was the first Jesuit dedicated to this new practice of teaching by means of songs.4

These sung prayers (written in Tupi, the language of the main indigenous group at the time), as well as those in Portuguese with Indian melodies, quickly became practical instruments of catechesis.5

While teaching about the Virgin Mary, Father José de Anchieta succeeded in converting many of the native peoples to the Catholic faith. In 1553, he was chosen as a missionary to travel to Brazil with Duarte da Costa, the second governor-general. After a shipwreck, he and his companions arrived at São Vicente in 1554. It was here that he met the native peoples for the first time. The historian Rubin states that according to Father Anchieta, “[e]ncounter with the locals was best achieved by teaching the Indians to pray the Ave Maria with the aid of the rosary.”6 His most effective means of evangelizing the native population however were his autos-da-fé (morality plays). Anchieta’s autos were full of images that evoked thoughts and memories in the minds of the indigenous peoples and the European colonists. Characters in the plays often included demons, guardian angels, and especially the Virgin Mary. He delivered the

Church’s message primarily through the dialogue between the characters that spoke Tupi-

Guarani, Portuguese, and Spanish, and were all dressed in traditional Indian costumes. Anchieta also incorporated native customs like puberty rituals, birth rites, marriage, and death into his

4 Paulo Castagna, “The Use of Music by Jesuits in the Conversion of the Indigenous Peoples of Brazil,” in The Jesuits: Cultures, Sciences, and the Arts, 1540-1773, ed. O’Malley, Toronto: University of Toronto Press, 1999, 641.

5 Castagna, “The Use of Music by Jesuits,” 643.

6 Rubin. “Mother of God,” 394.

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dramas.7 He composed songs in Tupi-Guarani8 for the Indians to sing. According to Castagna,

“He would change profane music to holy music and compose new songs in honor of God and the saints, which were sung in churches, streets, squares, and with which people were edified and know the fear and love of God.”9

Father Anchieta devoted his entire life to caring for the indigenous peoples of Brazil.

This was not by any stretch of the imagination a small feat, as the environment he had to work in included officials and colonists who considered the indigenous peoples less than human and therefore a population readily available for exploitation as slave laborers. Yet, in spite of overwhelming conditions, Anchieta somehow managed to care not only for the indigenous people’s earthly necessities, but for their spiritual needs as well. For this, they held him in high esteem.

The Jesuit priest Antônio Vieira (1608 - 1697) catechized and converted many enslaved

Africans in Brazil by prescribing them to pray the rosary. Father Vieira believed that meditating on the mysteries of faith would take their minds off their lives of extreme hardship. Unlike

Fathers Azpilcueta and Anchieta however, he did not use music or drama. Instead, he used his immense gift of oratory in the form of homilies (sermons). Vieira taught that by having a devotion to the Virgin Mary, they could better cope with their plight in life. He invited the enslaved Africans to consider their lives of toil as a sharing in the suffering of both Jesus and his mother, Mary. “In their present circumstances, slaves shared Christ’s suffering, for there is no work or type of life on earth more like the cross and passion of Christ than your work in these

7 Celso Gestermeier do Nacimento, Raízes distantes: José de Anchieta, o modelador de imagens, in Transformando os Deuses, org. Robin Wright, Campinas: Universidade de Campinas, 1999, 504.

8 Tupi-Guarani is a sub-family of the Tupian languages of South America, and includes fifty languages.

9 Castagna, “The Use of Music by Jesuits,” 648.

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sugar mills [and mines]. And just as Christ did not forget his mother while he suffered on the cross, neither should slaves forget Mary.”10

Since the African descendant population in Brazil came from different territories with their own languages, cultures, and religious beliefs, they developed their own new hybrid cosmologies by combining African religious beliefs with elements of Catholicism. Yet, according to Kiddy, “the central symbol which was both offered by the Portuguese and chosen by the Africans was ‘Our Lady of the Rosary.’”11 The Virgin Mary gave the Africans hope because they believed that she favored them over their captors. A common legend cited by Kiddy supports this belief. The story goes that an image of Our Lady was discovered by two runaway slaves bobbing up and down in a river somewhere in Minas Gerais. Upon hearing this, their master, a priest and then the local bishop went down to the shore, one by one, to attempt to lure her out. Each attempt was unsuccessful. However, when “the Congo12 and the Mozambique13 joined the Candomblé14 and all the African nations played, sang, and danced together, Our Lady finally did come out of the waves and sat on the largest drum.”15 The fact that Mary only came out of the water for the African-Brazilians can be interpreted as a moral lesson that has its origins

10 Joan Meznar “Our Lady of the rosary: African slaves, and the struggle against heresy and heretics,” Journal of Early Modern History Vol. 9, No.3, (2005): 388.

11 Elizabeth Kiddy, “Congados, Calunga, Candombe: Our Lady of the Rosary in Minas Gerais, Brazil,” Luso- Brazilian Review, Vol. 37, No.1, (2000), 49.

12 A Congo is one of several ritual groups in Minas Gerais that participate in the Congado, a Feast Day celebration of the Crowning of Our Lady of the Rosary that includes dancing, singing, and a coronation of a king and queen of the festival.

13 A Moçambique is an African-Brazilian singing and dance troupe that performs for festivals of Our Lady of the Rosary, St. Benedict the Moor, and with other saints associated with African-Brazilian heritage.

14 A Candomblé is an African-Brazilian syncretic religion, and according to Kiddy, is considered the ancient ancestor to the Congado.

15 Elizabeth Kiddy, Blacks of the Rosary: Memory and History in Minas Gerais, Brazil, (University Park: The Pennsylvania State University Press, 2005), 59.

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in Mary’s canticle, the Magnificat. In it, Mary proclaims that God will scatter the proud while exalting the humble, and will feed the hungry while sending the rich away empty. It is easy for most to associate the slave master with the proud and rich, and the Africans as the humble; however, it is not so simple to think of a priest or bishop as being like the evil slave masters.

Perhaps Mary was simply proving the point that all men are created equal in the eyes of God.

“The Jesuits organized the African slaves into groups called brotherhoods (irmandades) in order to promote devotion to the rosary in Brazil.”16 In its broadest sense, a brotherhood is a lay organization of Catholic men (sometimes including women) that does works of charity for the poor. In addition, the brotherhoods organized and promoted masses, processions, or novenas in a church or chapel of their own. The first brotherhood in Brazil was the Irmandade de Nossa

Senhora do Rosário (Brotherhood of Our Lady of the Rosary); founded in 1708 for and by black slaves and freedmen, it was located in São João del-Rei, Minas Gerais.17

Marian Art and Music in the Brotherhoods of Colonial Brazil

The brotherhoods in Minas Gerais were instrumental in helping construct a Marian-based

Brazilian society by commissioning mulatto18 artists to create architecture and music that reflected a reinterpretation of the mother of Jesus’ role as an advocate for the downtrodden.

Arguably the most famous artist of the colonial period was the sculptor and architect Antônio

Francisco Lisboa (1730 - 1814), commonly known as Aleijadinho (literally) the “little disabled one.” Aleijadinho created spectacular architectural and sculptural sacred works. His most famous work is his “Twelve Prophets” at the Sanctuary of Bom Jesus de Matosinhos in do

16 Meznar, “Our Lady”, 379.

17 Theije, “Brotherhoods,” 192.

18 In Brazil, a mulato person is normally a person of mixed Portuguese and African descent.

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Campo, Minas Gerais. The prophet figures are made of carved soapstone and flank the staircase leading up to the church (see Figure 3-1).

Figure 3-1. Aleijadinho’s “Twelve Prophets” referencing the Marian value of justice for the oppressed as expressed in Mary’s Magnificat.

For Aleijadinho, these twelve prophets represented freedom for slaves and mulattoes.19

This dream of liberation in the mulatto and black community during the colonial period acknowledges one of the main sentiments found in the Magnificat of Mary, the eventual realization of social justice for the poor and marginalized. The sentiment of the Virgin Mary bringing God’s redemption to the weak and the poor is expressed in the music of the composers of this same time period.

Marian music composed during the colonial period marked the beginning of a uniquely

Brazilian repertoire of Church music. I will illustrate the style of composition by examining pieces by two Brazilian colonial composers: José Joaquim Emérico Lobo de Mesquita (1746 -

1805), and Father José Maurício Nunes Garcia (1767 - 1830). The focus of my analysis will be on illustrating how the text settings and compositional techniques employed by these composers

19 Tania Costa Tribe, “The Mulatto as Artist and Image in Colonial Brazil,” Oxford Art Journal, Vol. 19, No.1 (1996), 77.

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introduce and/or reinforce Marian values through doctrine. Their music displays historical

Marian values that continue to be presented in today’s songs in order to emphasize Brazilian

Catholic values. Also noteworthy is that fact that both of their compositional styles reflected the most contemporary expressions of their time, a mixture of an emerging Brazilian style with an existing European one.

José Joaquim Emérico Lobo de Mesquita (1746 - 1805) was a composer, organist, conductor and professor of music from Vila do Príncipe (now ), Minas Gerais. Little is known about his early musical training; however, he is believed to have studied with the priests

Manuel da Costa Dantas, Manuel de Almeida Silva and Miguel Bernardo Moreira.20 The Italian and Portuguese court musicians David Perez and Niccolò Jommelli also influenced Lobo de

Mesquita’s compositional style. The compositional techniques he gleaned from them include the predominance of homophonic textures, harmonizing violins in thirds, doubling the voice with the violins; bass lines alternating between melodic lines and or repeated notes that create percussive effects, and the use of short pauses to create various atmospheres and contrasts.21 In addition, the composer employs contrasting textures as structural devices, and pedal points to prolong tonic or dominant harmonies.22 All of these techniques pointed toward an emerging classical style, yet became associated with what has been termed the “Flowering of the Brazilian baroque”23 which was centered in Minas Gerais.

20 Maria Inês Guimarães , José Joaquim Emerico Lobo de Mesquita, online article, http://culturahomologa.mg.gov.br/pamm/vol1/arqs/compositor.pdf, 28.

21 Katya Beatriz de Oliveira and Laura Rónai, A prática musical religiosa no Brasil e em Portugal na segunda metade do século XVIII: paralelo e fundamentação para a interpretação vocal da música de José Joaquim Emerico Lobo de Mesquita, On line article, http://www.scielo.br/pdf/pm/n24/n24a16.pdf , 158-160.

22 Guimarães , José Joaquim Emerico Lobo de Mesquita, 92-93.

23 It could be that the term “Brazilian Baroque” was coined because of the baroque architecture that was popular in Minas at the time.

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Like many Afro-Brazilians or people of mixed ancestry, Lobo de Mesquita relied on the

Virgin Mary to help him cope with the issues of discrimination that were part of the social environment in which he lived and worked. For example, his job as organist at the church Nossa

Senhora do Carmo (“Our Lady of Carmel”) in Diamantina required that he play behind a wall with a hole in it so the parishioners could not see his dark skin color.24 The sentiment of his reliance on the Mother of Jesus is expressed in compositions like his setting of the Salve Regina titled Antiphona de Nossa Senhora (Salve Regina), of 1737. I have chosen this piece for analysis because it contains the Marian sentiments of sadness and hope that both commoner and elite identify with in Brazil. The text to Salve Regina comes from an anonymous European author who most likely lived in the 12th century.25 It is essentially a plea to the Virgin Mary to show her son to people.

Lobo de Mesquita’s setting of Salve Regina is well crafted from an artistic point of view and communicates the Marian values of suffering, supplication, mercy, and hope. The work is scored for the usual modest musical forces available to the composer: SATB choir, violins 1 and

2, and continuo. In the composer’s time, Salve Regina was performed on Marian feast day celebrations in the churches where he was employed. Today, Lobo de Mesquita’s music is known mainly by musicologists, cathedral and university choir directors, and by historical choral organizations; the latter sponsoring performances at festivals in cities like Ouro Preto,

Diamantina, and Mariana, all located in Minas Gerais.

24 Glenn Cheney, Journey on the Estrada Real: Encounters in the Mountains of Brazil, (Chicago: Academy Chicago Publishers, 2004), 203.

25 Ron Jeffers, “Translations and Annotations of Choral Repertoire, Vol. 1: Sacred Latin Tests,” (Corvallis: 1988, Earthsongs), 198.

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Salve Regina occurs in three distinct sections that express two Marian values, suffering and hope. The music that comprises sections one (mm. 1 - 50) and the closing section (mm. 100 -

114) evokes the profound suffering that Mary experienced when witnessing her own son Jesus’ cruel death. The musical factors that contribute to the first section’s sad character include a slow tempo (larghetto), minor key (A minor), and an initial melodic gesture that is introduced by the first violins in measures 1and 2 (see Example 3-1).

Example 3-1. The opening melodic gesture sets a sacred and somber tone for the music.

This sentiment continues as the first two words, Salve Regina (Hail Mary) are sung by the tenors in measures 11 and 12 (see Example 3-2).

Example 3-2. The repeated opening melodic gesture reinforces the somber mood.

A technique employed by Lobo de Mesquita that emphasizes the Marian value of suffering is what I shall call “harmonic” word painting. It occurs in measures 43 and 45, in the soprano and harmonic accompaniment, on the words gementes (groaning), and flentes (weeping) respectively. In each instance, the composer uses the French 4/3 version of the augmented sixth chord to portray these actions (see Example 3-3).

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↓ ↓

↑ ↑

F4/3 (F4/3)

Example 3-3. Harmonic word painting emphasizing the actions of groaning and weeping.26

Contrasting to the music of the first section is that of the beginning of the second (mm. 51

- 60), which has an overall uplifting character. The sentiments of joy and hope expressed here represent an assurance that Mary comes to the aid of those who call upon her for help. This establishes Mary’s role as an intercessor. The musical elements that lend support to these sentiments contrast sharply to those chosen for the first section. These elements include a faster tempo (Allegro Molto), major key (relative major, C), change to triple meter (3/8), homophonic

26 This excerpt comes from the author’s own piano reduction of the music as realized by the musicoloigist Curt Lange.

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texture, and the employment of the full choir at a forte dynamic level. The text for the section begins with the incomplete phrase Eia ergo advocata, advocata nostra, translated to “Hasten therefore, advocate, our advocate…” (see Example 3-4).

Example 3-4. The Marian value of Hope expressed by a contrasting change in texture, key, meter, and tempo. After this section, the original somber mood returns in measures 61 through 70 as the composer gradually expands the texture, changes dynamic levels suddenly, and modulates to the subdominant key (D minor). The phrase illos tuos misereicordes oculos ad nos converte “turn your eyes of mercy upon us” (mm. 61 through 70), begins with a duet between the altos and tenors (mm. 61 - 63), and is immediately expanded to a trio by adding the basses in measure 64.

By measure 65, the entire choir is employed. Then in measures 68 through 70, the dynamic level suddenly changes to forte emphasizing the text ad nos converte, which means “toward us, turn”

(see Example 3-5).

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Example 3-5. Textural variety, sudden dynamic changes and a modulation to the minor mode help portray the Marian value of mercy.

The composer’s use of fragmentation, text repetition, and a key change, further emphasize the text’s plea for mercy. In measures 85 and 86, the words ad nos (to us) are sung by the entire choir; then in measures 87 through 90, they are repeated with the added word converte

(turn) to complete the phrase (see Example 3-6).

The expression of extreme sadness defines the mood of the closing section (mm. 100 -

114) with a return to the original slow tempo, and by utilizing some of the techniques used in the second movement, namely the expansion of the number of voices employed, and sudden changes in dynamic levels. The image of the suffering “sorrowful mother” is expressed in measures 100 through 107 with the use of text repetition and changes in dynamic levels. After repeating the words Et Jesum (“and Jesus”) by the full choir at mezzo forte, the music continues with a duet

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between the altos and tenors on the words benedictum fructum ventris tui (“blessed is the fruit of your womb”) yet at a piano dynamic level.

Example 3-6. Supplication, portrayed by fragmentation, text repetition, and key change.

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Then, suddenly in the next measure (m.104), the basses sing the word nobis (“us”) at a forte dynamic level, which marks the beginning of a dramatic petition that is completed in the ensuing measures as the entire choir sings at forte the words post hoc exilium ostende, meaning “show us, after this our exile” (see Exmple 3-7).

Example 3-7. The combination of a slower tempo, repeated text, and sudden changes in dynamics signify Mary as the sorrowful mother, someone that devotees can relate to.

The last seven measures, 108 - 114, contain a description of the Virgin Mary as a merciful, pious, and sweet mother respectively. Lobo de Mesquita portrays this by using another duet to begin the phrase before expanding the texture to the full choir, only this time the duet occurs between the tenors and basses in order to emphasize a heavier tone. In measures 107 -

110, the tenors and basses sing O clemens (merciful), O pia (pious), O dulcis (sweet) at a piano dynamic level. Then in measure 111, the entire choir sings the word Virgo (virgin) at forte emphasizing the doctrinal belief of Mary’s Perpetual Virginity. Most notable however, is how the composer treats the name Maria (Mary) like a prayer by having the choir sing the first

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syllable of her name at a forte dynamic level followed by an immediate change to piano when singing the last two syllables (see Example 3-8).

Example 3-8. Expanding textures and sudden dynamic changes help emphasize Mary as both a merciful and virtuous mother.

A discussion of colonial Marian music from Brazil without mentioning the priest- composer José Maurício Nunes Garcia, widely recognized as Brazil’s most accomplished colonial composer, would be incomplete because his music also reveals strong historical Marian values. José Maurício (as he is known) was born in Rio de Janeiro, and lived there his entire life

(1767 - 1830). At just sixteen years of age, he composed his first piece titled Tota pulchra est

(“You are completely beautiful”), in which the composer set music to the fourth-century antiphon. In 1792, José Maurício was ordained a priest, and six years later appointed as Chapel

Master at the cathedral in Rio de Janeiro, replacing its former director João Lopes Ferreira upon

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his death. In 1808, he was appointed as director of the Royal Chapel. José Maurício had an impressive music library at his disposal, and therefore was familiar with the music of his

European contemporaries.27 His musical influences included music of the Mineiran composers such as Lobo de Mesquita, the Italians, Viennese,28 and lastly by his competitor Marcos

Portugal, who arrived in Brazil with the Portuguese court in 1808. José Maurício composed

Marian works such as the “ of Our Lady’s Sorrows, for the Matins of the

Assumption, and Magnificat for the Vespers of Our Lady. I have chosen the latter for analysis for two reasons. First, because it represents the composer’s desire for devotional expression29 and second because it helps explain Marys’ role in the development of Brazil’s social history.

The Brazilian priest Fr. Clodovis Boff30 explains that the organization of the text for the

Magnificat features a tripartite structure. Fr. Boff calls Part 1, Divine action through Mary. This first section presents a personal message of Mary’s cooperation with God’s plan for her to become the mother of the Redeemer. Part 2, Divine action in humanity, delivers a social message where Mary helps the poor, and disperses the proud in order that they be saved and Part 3,

Divine action in the people of Israel, is a message that maintains that Mary is both of Jewish origin, and is also a universal mother.31

27 José Maurício Nunes Garcia, Béhague, Oxford Music Online, 3.

28 Frâncio Xavier Santos Costa, “Os Estilos Musicais Que Influenciaram O Padre José Maurício”, Memória e História, Vol. 10-15 (Oct., 2004), 4.

29 Béhague, Oxford Music Online, 4.

30Fr. Clodovis Boff (b.1944) is a Brazilian Catholic priest from the Order of the Servants of Mary. A clear distinction exists between him and his brother Fr. Leonardo Boff (b.1938), who is viewed by the Church as a radical priest because of his association with Liberation Theology during the decade of the 1970’s.

31 Clodovis Boff, Introdução a Mariologia, (Petrópolis: 2012, Vozes), 58.

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José Maurício’s setting of the Magnificat, em Vésperas de Nossa Senhora was completed in 1797. Written for SATB choir and basso continuo, it occurs in two large sections, the first in measures 1- 40, and the second in measures 41 - 82. The last sixteen measures of the second section, 66 to 82, form a closing section (see appendix). The voices move in a predominantly homorhythmic or chorale-like fashion with occasional instances of imitation.

The composer illustrates the Marian value of obedience through the use of repeated notes, repeated pitch patterns, melodic sequences, sudden changes in dynamic levels combined with the use of imitation, and occasional two-measure solo soprano passages. The piece opens with a strong, repeated - note figure in the soprano voice on the word “Magnificat” (Magnify) at a forte dynamic level. The other voices share in the same rhythmic figure (half note, dotted quarter, eighth, and quarter note), and together with the soprano voice outline a tonic-dominant-tonic chord progression (see Example 3-9).

D: I - V - I

Example 3-9. The word Magnificat illustrated by an exclamatory setting consisting of repeated notes and tonic-dominant-tonic harmony, representing Mary’s joy she found by being obedient to God’s will.

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In measures 4, beat 3 through beat 3 of measure 6 in the soprano, José Maurício marks

Mary’s ecstatic exclamation et exultavit spiritus meus (“and my spirit has rejoiced”) by repeating the pitch pattern (C#-E-C#-D) that consists of an ascending minor third, descending minor third, ascending minor second, and repeated note (see Example 3-10).

⌐ ¬ ⌐ ¬

Example 3-10. Mary’s ecstatic response to God portrayed by the repeated pitches C#-E-C#-D.

In measures 10 - 13, the composer portrays Mary as God’s obedient servant by employing changes in dynamic levels (forte to piano), gradual increase of the number of singers, and imitation to create a musical contrast. All of these techniques combine to depict the text: quia respexit humilitatem ancillae suae, which translates to “for he has regarded the low estate of his handmaiden” (see Example 3-11).

Mary’s prediction, ecce enim ex hoc beatam me dicent omnes generations, (“all generations will call me blessed”) in measures 14 - 17, soprano, represents her own confidence that she will be rewarded for her obedience to God.

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↓ ↓ ↓

Example 3-11. Mary’s humility and obedience, marked by a sudden dynamic change, increase of voices, and imitation.

This Marian value is portrayed by utilizing a melodic sequence that is based on a previously established pitch pattern. The pitch pattern of an ascending minor third-descending minor third- descending major second (C#-E-C#-B) is a variation of the pattern that occurred in measures 4 through 6 (see Example 3-12).

⌐ ¬ ⌐ ¬

Example 3-12. Mary’s “blessedness,” a reward for her obedience, expressed within the pitch pattern C#-E-C#-B, a variation of an earlier one that portrayed joy.

In addition to the Marian value of obedience, José Maurício’s Magnificat also portrays hope and mercy, as dispensed through Mary in the form of social justice, by employing melodic sequences, pitch patterns, brief quartet passages combined with imitation, and the juxtaposition of contrasting dynamic levels. In measures 33-36 for example, the poetic image of “God’s strong

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arm” (fecit potentiam in brachio suo) is illustrated through a melodic sequence in all four voice parts (see Example 3-13).

⌐ ¬ ⌐ sequence ¬ ⌐ partial sequence¬

Example 3-13. The sentiment of God’s strong arm, emphasized by utilizing melodic sequences.

In measure 37 to beat two of measure 38 in the soprano, the pitch pattern of an ascending major second (A-B), leap of a perfect fourth (B-E), followed by a perfect fourth filled in by descending stepwise motion (E-D-C#-B) is utilized to portray Mary’s dispensing of God’s justice and mercy. The Latin text text dispersit superbos mente translates to “He has scattered the proud” (see Example 3-14).

The Marian value of hope occurs in measures 43 - 47 in the form of rewarding those who are meek and humble with good things. José Maurício accomplishes this through a variety of techniques that include the use of a solo ensemble of voices, imitation, and a sudden change in dynamics to portray the meaning behind the text; however, with different emphasis in each.

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⌐ ¬

Example 3-14. The pitch pattern in the soprano voice of an ascending 2nd, ascending 4th followed by a descending 4th filled in by step represents God’s dispensing of justice through Mary.

In measures 43 - 44 for example, the words et exaltavit (“and He has exalted”) are sung at a forte dynamic level by solo voices in imitation to emphasis on God’s powerful action. Then in measure 45, the word humiles (humble) occurs at a pianissimo dynamic level (see Example 3-

15).

Similar techniques to portray Mary dispensing justice and mercy to both the good and bad appear in measures 47 - 51; however, the dynamic level scheme is reversed in order to illustrate the images accurately.

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↓ ↓ (↓)

Example 3-15. Solo ensembles and contrasting dynamics portray God’s dispensing of good things to the humble through Mary.

In the latter part of measure 47 continuing through measure 51, the composer portrays

God’s mercy to the hungry (Esurientes implevit bonis), and severe discipline to the rich in the form of hunger (et divites simisit inanes) by varying the number of voices from a trio to tutti, and by suddenly increasing the dynamic level respectively (see Example 3-16).

Finally, the Marian value of her universal motherhood (Part three of Fr. Clodovis Boff’s textual analysis of the Magnificat), in the form of rewarding those who remain faithful to God, is portrayed by repeating an earlier technique of increasing the number of voices (from small to large) to capture Mary’s voice and comprehension of God’s promise to his people.

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↓ ↓

Example 3-16. Mary’s message of God’s mercy to the poor expressed by increasing the size of the vocal ensemble, accompanied by a sudden increase in dynamic level.

In measures 58, beat 3 through 60, beat 1, the text Sicut, sicut locutus est (“As it was spoken)” is given to the solo soprano voice (similar to mm.18 & 19). Immediately following in measure 60, beat 3, the altos and tenors join the soprano to continue with the phrase ad patres nostor Abraham et semini ejus (“to our fathers Abraham and to his seed”). Then in measures 63, beat 2 through 65, beat 3, the full choir is utilized at a forte dynamic level to reiterate the words et semini ejus in saecula, which translates to “and his seed forever”(see Example 3-17).

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↓ ↓

↓

Exmple 3-17. Increasing ensemble sizes and dynamic levels emphasize Mary as a universal figure of motherhood who helps fulfill God’s promise to multiply not only Abraham’s descendants, but also those of all Christian believers.

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Conclusion

This chapter has explored the origins of devotion to the Virgin Mary in Brazil. I have explained how devotion to the mother of Jesus was introduced by the Jesuit missionries through music and drama by priests like Father João de Azpilcueta, and José de Anchieta, as well as through homiletics by fathers Manoel da Nóbrega and Antônio Vieira. I noted that devotion continued during the colonial period with the mulato artist Antônio Francisco Lisboa

(Aleijadinho), and composers José Joaquim Emerico Lobo de Mesquita and José Maurício

Nunes Garcia.

The Marian values displayed in the music of Lobo de Mesquita and José Maurício (two of Brazil’s most important colonial composers) assisted in the formation of a Brazilian, Catholic society founded on the importance of Mary. Although the majority of today’s population may not know their music, Lobo de Mesquita’s “Salve Regina” and José Maurício’s “Magnificat” represent an important part of the heritage that has affected the perceptions of the contemporary community. Their music was part of the beginning of an organized Brazilian devotion to Nossa

Senhora (Our Lady). This devotion began in a specific location, in what is now known as the city of Aparecida do Norte in the northern-most region of the state of São Paulo, close to the southern border with the state of Minas Gerais. My discussion will now turn to current-day devotion to the

Virgin Mary, focusing on how Marian songs have become part of everyday life for Catholics living in southern Minas Gerais.

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CHAPTER 4 MARIAN SONGS IN CATHOLIC DAILY LIFE

In this chapter, the relationship that Marian songs have as part of a Catholic daily life in southern Minas Gerais is examined. The religious activities that the people devote most of their time and energy to include personal prayer, attending a prayer group, mass or other Church- related function; the common thread for all is Marian song. Cantos Marianos are important to the people because they function to help them in their faith-walk by inspiring or reinforcing in them a desire to emulate Mary’s virtues like humility, obedience, purity, wisdom, trust, and charity. In addition, there exists a sense of the “sacred” for Mary and all mothers as both bring life into the world. This understanding begins to shed light on why people from southern Minas Gerais have such fervent devotion to the Virgin.

The Catholic community of Pouso Alegre holds a special place in their hearts for the

Blessed Virgin Mary which is expressed through song. Marian songs are sung at masses, group prayer meetings, home visits (receiving her image), processions, pilgrimages, and novenas. The most common venue for the display of devotion to the Blessed Virgin is the mass.

Mary at Mass

Although the celebration of the Catholic liturgy known as the mass is focused primarily on the sacrifice of Jesus Christ, the Virgin Mary is often invoked in the Eucharistic prayers, by praying a “Hail Mary,” or through song. Marian songs that are sung during mass can occur in the form of supplication, veneration (focusing on her virtues), or remind people of her significance to their faith through doctrine. An iconic example of the supplicatory type of Marian song that is often sung during mass is “Daí-nos a Benção” (Give us the blessing”). At the heart of this song is a devotee’s request for Mary to give them a blessing, and priests oftentimes make room for it to be sung. According to my niece Lairssa Rissatti, who attends Bom Jesus parish, just prior to the

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conclusion of mass Monsenhor Júlio Perlatto (now deceased) would have the people turn toward the image of Nossa Senhora Aparecida and sing “Daí-nos a Benção” in her honor.1

Singing Marian songs during mass as young people consecrate their lives to the Virgin reinforces the significance of emulating her through example. A consecration to Mary is one of the most powerful expressions of devotion to the Mother of God, and people who make an act of consecration seek to imitate her virtues (see above). In so doing, they dedicate their entire way of life to the Mother of Jesus. A Consecration to Mary is a process that is patterned after the devotion that was promulgated by Saint Louis d’ Monfort of France (1673 – 1716). St. Louis’ main thrust was his belief that by having a true devotion to Mary, a person can become closer to her son. He refers to this as consecration to “Jesus through the hands of Mary.” This requires that a person surrender his or her own will to Christ via his mother.2 Pouso Alegrenses who wish to consecrate their lives to Mary can begin by talking with their parish priest, or can find additional guidance and instruction on line at the website of the Fraternidade Arca de Maria (The Society of the Ark of Mary), http://www.arcademaria.com/.3 On this site, the Brazilian priest Fr. Paulo

Ricardo offers teachings on making a consecration to Mary.

In June of 2014, I witnessed a consecration ceremony during mass at the parish of Nossa

Senhora de Fátima. The ceremony was brief and consisted of the priest and congregation praying and singing for those newly consecrated young men and women. The culmination of the event occurred when everyone sang the song “Consagração a Nossa Senhora” (“Consecration to

Our Lady”) for them. While the congregation was singing, the newly consecrated stood in front

1 Larissa Rissatti, personal communication, June, 2014.

2 St. Louis de Montfort, “True Devotion to Mary”, (Rockford: Tan Books, 1985), 43-45.

3 Ana Claudia Fernandes de Siqueira e Silva, via a skype communication with Larissa Rissatti, October, 2015.

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of a statue of Nossa Senhora de Fátima, which was located to the right of the altar (see Figure 4-

1). They remained there until the song concluded. After the song finished everyone applauded the newly consecrated.

Figure 4-1. Fr. Adilson blesses the newly consecrated young people (photo by author).

Mission Masses and Mary

A second venue where Marian songs are sung is at missas das missões (mission masses) that are often celebrated in people’s homes. These masses are given at the request of a family or group and help foster a sense of community. Quite often, the priests who celebrate mission masses have a solid relationship with the Virgin Mary and an ability to sing. For these reasons they are sought after by the people, especially by married women whose traditional role in

Brazilian society is that of caretaker of both the faith and family.

In June of 2015, I attended a mission mass at the home of senhora Mônica Fernandes who lives in one of the neighborhoods of Pouso Alegre. Mônica is about thirty years old, and is married with children. Her home reflects what most would consider upper middle class standing.

Mônica had a homemade altar fashioned for the mass that consisted of a table with altar cloth, candles and a crucifix atop. The altar was placed in an open space in front of the stairway. To the

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left of the altar were hung two pictures on the wall, one of the late Pope John Paul II and the other of Our Lady of Perpetual Help. Beautiful white colored roses were placed in front of the altar, and a Persian rug underneath the table.

The mission mass at Mônica’s was a double celebration; as it occurred on the feast day of

Nossa Senhora do Socorro (“Our Lady of Perpetual Help”), and the commemoration of Padre

Anchieta.4 The priest who offered the mass was Father Adilson. After greeting us all, Father mentioned the importance of both Nossa Senhora do Socorro (see image in appendix) and padre

Anchieta for the Church. Next, he acknowledged our hostess Mônica and bestowed his blessing on her, her family, as well as on everyone gathered. The mass began with the signing of a hymn.

Since there were no instrumentalists available, all of the songs were sung a capella. A woman of about forty years old led the singing. Most of the songs that were sung came from a book titled

Fé e Vida (“Faith and Life”), and only the song-leader had a copy. This did not deter participation however, as everyone knew the songs from memory.

Singing Marian songs at mission masses reminds people that the Virgin Mary holds a special place in their hearts, and that she deserves to be honored and thanked properly. In most cases, people’s devotion to Mary is handed down to them from their parents in the form of praying the rosary, and singing songs like “Mãezinha do Céu” (“Little Mother of Heaven”),

“Maria de Nazaré” (“Maria of Nazareth”), and “Daí-nos a benção” (“Give us the blessing”). The lyrics to each of these songs include Marian virtues and doctrine. The children’s song titled

“Mãezinha Do Céu” (see appendix) for example, mentions the virtue of Mary’s purity while emphasizing her role as a protective mother. “Maria de Nazaré” (see Ch.5) is a song that features the relationship between Mary and her devotees, yet also emphasizes the doctrine of Mother of

4 In addition to converting many Indigenous peoples, Padre Anchieta also helped found the city of São Paulo.

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God. The sentiments emphasized in the song “Daí-nos a benção” center on Mary’s role as an intercessor, protective mother as well as her virtue of purity, and according to Father Leandro de

Carvalho Raimundo, rector of the Seminary of the Archdiocese of Pouso Alegre, Nossa Senhora

Auxiliadora (“Our Lady of Help”), represents the spiritual identity of the Brazilian people.

Father Leandro shared a personal story with me about the song that lends support to his claim.

While he was studying for the priesthood in Rome, there was a special mass given for the

Brazilian priests and seminarians there. At one point during the celebration, the choir sang “Daí- nos a Benção.” As he and his fellow Brazilians joined in the singing, tears began to flow down their cheeks. Father Leandro explained that the reason they were crying was because it reminded them of their love for Nossa Senhora and of their homeland.”5

The author of “Daí-nos a Benção” is anonymous, yet most Brazilian Catholics are familiar with the song, as it is synonymous with devotion to Nossa Senhora Aparecida (she is mentioned in the refrain twice, and the song is sung frequently at mass). I obtained a copy of the lyrics from a songbook titled Deus Conosco! Juntos Cantemos (“God is with us! Together we sing”) that I purchased from the National Shrine’s bookstore on my first visit. Two years later, I was able to record a performance of the song by a visiting choir member who had just finished participating in a concert given at the old basilica. It is from this version, along with the text from the songbook, that I made my transcription of the singing of this music.

What makes this song such a powerful Marian sign? I focused my analysis on the two aspects, the melodic hook (found in the refrain), and the song text that illustrates the Marian value of intercessory prayer. First, I will discuss the attractiveness and the accessible qualities of the music. A discussion about how the text portrays Marian values follows. To begin, the

5 Fr. Leandro de Carvalho Raimundo, personal interview, Pouso Alegre, 2013.

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antecedent phrase in measures 1 and 2 contains a “hook” based on a pitch pattern consisting of two repeated notes, and a stepwise descent of a third followed by a repeated note. This pitch sequence has a distinct rhythmic pattern associated with it that is comprised of three eighth notes followed by two quarter notes. Both are sequenced immediately and finish the first four-measure phrase (see Example 4-1).

└ hook ┘ (L.N.)

Example 4-1. The melodic “hook”, an attractive and accessible motive.

The consequent phrase of the refrain, measures 4 – 8, begins exactly like the first; however, is varied by replacing the previous lower neighbor figure with a stepwise ascent of a perfect fourth (D-G), followed by an upper neighbor figure (G-A-G) that is immediately sequenced a major third bellow (see Example 4-2).

└ ------

------┘P4 (U.N.) (sequence) Example 4-2. The consequent phrase, initiated by the “hook” and varied by inversion by direction of former lower neighbor patterns.

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Because “Daí-nos a Benção” occurs in a simple refrain and the verses are strophic, those who are singing the song can focus on the meaning behind the text rather than the notes.

Consequently, both the hook and two-part form facilitate connection with the Virgin Mary.

A second consideration is how the song’s text illustrates Marian values. There are four values presented within the verses text. In order of occurrence they are blessedness, protection, purity, and trust. During the refrain, her devotees acknowledge Mary as an intercessor who dispenses God’s blessings:

Portuguese English

Dai-nos a bênção, oh mãe querida Give us the blessing, oh dear mother

Nossa Senhora Aparecida Our Lady of Aparecida

Dai-nos a bênção, oh mãe querida Give us the blessing, oh dear mother

Nossa Senhora Aparecida Our Lady of Aparecida

The first verse illustrates her role as a universal mother who provides protection to her children

(devotees) on earth:

Verso 1 Verse 1

Sobre esse manto o azul do céu Under this mantle of celestial blue

Guardai-nos sempre no amor de Deus Guard us forever in God's love

Sobre esse manto o azul do céu Under this mantle celestial blue

Guardai-nos sempre no amor de Deus Guard us forever in God's love

The text that comprises verse 2 points to the Marian value of the desire for purity. The first line states that the devotee consecrates him or herself to Mary with the expectation of

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drawing closer to her son, and in so doing demonstrates a desire to emulate her attributes of purity and obedience.

Verso 2 Verse 2

Eu me consagro ao vosso amor I consecrate myself to your love

Oh mãe querida do Salvador Oh dear mother of the Savior

Eu me consagro ao vosso amor I consecrate myself to your love

Oh mãe querida do Salvador Oh dear mother of the Savior

The text of verse 3 portrays Mary as a safe path to her son, the value of trust. As Mary trusted

God, so too do Mary’s devotees look to her to guide them safely to Jesus, and ultimately heaven.

Verso 3 Verse 3

Sois nossa vida sois nossa luz You are our life and our light

Oh mãe querida do meu Jesus Oh dear mother of my Jesus

Sois nossa vida sois nossa luz You are our life and our light

Oh mãe querida do meu Jesus Oh dear mother of my Jesus

“Daí-nos a Benção” is often sung during the mass for the Feast Day of Nossa Senhora

Aparecida on ; however, many priests often request it sung just prior to the end of mass on any given Sunday to remind people of the important role that the Virgin Mary plays in their daily lives. While in Pouso Allegre, I heard this song sung at the end of a mission mass that was celebrated at the home of Mônica Fernandes. The celebrating priest, Fr. Adilson, invited everyone gathered to sing three Marian songs for the benefit of my research. “Daí-nos a Benção” was the second song from among three (the first was titled “Mãezinha do Céu,” the third, “Maria de Nazaré”). It was quite evident by the manner in which the people participated in the singing

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(everyone knew the lyrics from memory, and sang with much enthusiasm and emotion) that these songs meant a lot to them.

Mary and the Charismatic Renewal

Among Catholics who attend mass regularly are those who consider themselves charismatics.6 In addition to attending mass, Charismatic Catholics participate in weekly meetings where they get together to pray and sing. The Charismatic Renewal in the Catholic

Church is a “spirit-filled” movement that began in the United States around the year 1967. The primary purpose of the renewal is to evangelize. American priests brought the Charismatic

Renewal to Brazil during the late 1960s and early 1970s. Since the 1990s it has become one of the fastest growing movements within the Brazilian Catholic Church.

The Charismatic community in Pouso Alegre has a Marian spirituality.7 Although the primary focus for charismatics is to come closer to Jesus through the promptings of the Holy

Spirit, it is also understood that having a devotion to Mary can draw people closer to Jesus.

Consequently, devotional songs sung to the Virgin Mary play an important role in the evangelization process. Catholic Charismatic prayer group meetings are more lively than traditional masses, and somewhat resemble the Pentecostal style of worship that includes an emphasis on vocal prayer, body movement, and emotional singing. Other types of activities that occur include scripture readings, interpretation of the word (sacred scripture), prophesy, speaking

6 Charismatic Catholics are referred to as being “spirit filled” as they emphasize having a personal relationship with Jesus, while expressing the gifts of the Holy Spirit.

7 Carlos Soares, former leader of the Formation House of ‘Our Lady of Help’, personal interview, June, 2014.

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or singing in tongues, and what anthropologist Csordas8 calls soaking with prayer where two or more leaders pray over a person.

Singing Marian devotional songs are an integral part of prayer meetings at the Casa De

Formação de Nossa Senhora Auxiliadora, Comunidade Emanuel (“The Formation House of

‘Our Lady of Help’, Emanuel Community”) on Assis street in Pouso Alegre, around the corner from the Catholic Book store. The Virgin Mary’s “presence” is emphasized in this prayer house as nearly every room has an image of the mother of Jesus. The physical layout of the house consists of a large, praise and worship room, a side adoration chapel, a thrift shop for clothing, and a few office rooms. The worship room is located off to the left, and is where the meetings take place. Approximately three quarters of the room is filled with plastic chairs that are arranged in six rows of five. In the front of the room is a large screen, a podium, and a statue of the Virgin

Mary holding the child, Jesus. While facing the front, to the right of the podium is a small table with a smaller version of the image of Mary and Jesus on top (see Figure 4-2).

Figure 4-2. Singing in the main worship room (photo by author).

8 For an anthropological view of Catholic charismatic healing, see Thomas Csordas’ chapter “Imaginal Performance and Memory in Ritual Healing” from Laderman and Roseman’s book titled “The Performance of Healing.”

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To the right of the large room, and closer to the entrance to the house, is a chapel. The chapel is a small space that has a tabernacle positioned on a podium, making it the focal point of the room. To either side of the tabernacle are two statues of angels, as well as another statue of Mary and the baby Jesus, and one of Joseph holding the infant Jesus.

Behind the tabernacle, on the wall is a crucifix, and above it to the left is a hanging red electric candle signifying that there are consecrated hosts inside.9 Two kneelers are placed diagonally in front of the tabernacle, and rows of cushioned wooden chairs are arranged in a semicircle, and fill the majority of the space (see Figure 4-3).

Figure 4-3. The Adoration chapel, a place where people can go adore Jesus in the tabernacle.

In June of 2015, I attended a charismatic prayer meeting at the Casa De Formação on a

Tuesday afternoon. Before the meeting began, an elderly woman approached everyone asking them to draw a piece of paper from a small box that she was holding. Each piece of paper had a number written on it. She explained that the winner of the drawing would get to take home an image of Mary holding the baby Jesus (see Figure 4-4) for one week. The meeting began with

9 In , there is an intimate relationship between Mary and the Eucharist, as she is thought of as the first tabernacle.

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the recitation of the rosary. The prayer group leader was a woman in her 50s who stood in front of the room and led the people in singing and in prayer (see Figure 4-2 above). After an initial song, the leader exhorted everyone to invoke the Holy Spirit. Next, a man of approximately 30 years read the scripture passage of Jesus’ transfiguration to the group (Mark 9, 2-8). He then gave a short teaching that emphasized transforming one’s mind and heart in order to have the courage to evangelize. A small group discussion about this scripture passage and teaching, as well as some socialization ensued. Afterwards, everyone gathered into one large group again for prayer intentions. Just prior to the conclusion of the meeting, we sang the popular Marian song

“Consagração a Nossa Senhora” (“Consecration to Our Lady”).

Figure 4-4. A small, homemade chapel housing a statue of the blessed mother and her son Jesus.

A Marian Charismatic Healing Mass

Ask His mother and the Son will do whatever she requests of him.

̵ ̵ Fr. Celso Antônio Lélis Diogo10

The ultimate celebratory gathering for Charismatic Catholics is the Healing mass. These masses are well-attended because the people recognize that they, or a family member, are in need of spiritual, physical or mental healing, and that they will receive it during the celebration. There

10 Personal interview, June, 2015.

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are many embellishments11 that occur during these masses that do not occur in the more traditionally celebrated style. Yet, the essentials of the liturgy (scripture readings, prayers, responses, and Communion) remain unchanged. At any moment during this type of celebration however, the priest may insert an improvised prayer, such as a re-invocation of the Holy Spirit, an Ave Maria, or song to Jesus or Mary. The priest’s improvised prayers are immediately recognized by everyone as being for their benefit. The songs are as well, however in a more interpretative manner as each individual finds not only his or her own meaning (via their own life-experience) intertwined within the melody, chords and text, but also that of those surrounding them. I attended a Charismatic Healing Mass in June of 2015, on a Thursday evening. The mass was held at the parish of Nossa Senhora Aparecida e São Francisco in the neighborhood called Recanto dos Fernandes (corner of Fernandes) located on top of a hill. As it turned out, Fr. Celso Antônio Lélis Diogo was the priest who celebrated the mass. The large church is not yet completed (the inside walls and flooring need finishing, and there are no pews) due to a lack of funds. I arrived forty-five minutes early to the 7:00 pm mass, in order to get a seat (the entire church was full of plastic white chairs). As the time to begin mass drew near, the church was filled to capacity. Those gathered were mostly young families; however, there were also elderly people in attendance.

Music and singing are an integral part of charismatic healing masses because it is how the priest and people praise God and invoke the Virgin Mary. The music is typically led by a small group of singers accompanied by guitar, and the priest is usually involved either in the singing

11 I use the word embellishment here because there are no alterations or changes that go against the Church’s regulations.

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himself or as someone who exhorts everyone gathered to sing. I will address the singing at this charismatic healing mass in the next chapter.

Youth Group Meetings and Mary

Reuniões de grupos de jovens (“youth group meetings”), whose participants are usually high school or college-aged people, have both Marian and charismatic overtones. The Marian portion is a group recitation of the rosary; whereas the charismatic part usually consists of verbalized prayers and body movement. At the invitation of Ana Claudia Fernandes de Siqueira e Silva,12 I attended a youth group meeting one Saturday evening at the parish of Nossa Senhora de Fátima. The meeting was held in a classroom on the second floor of the church’s parish religious education building. Upon arriving, many young people were happily conversing with each other. At one point, a small group of four singers (two male, two females) and a guitarist, located in the front of the room, began singing songs about Jesus. One of the singers, a male in his early twenties, was also the leader of the youth group. Most of the songs were fast-paced, and joyful in character. After the initial three songs, the music stopped and everyone greeted each other with kind words and hugs. Following this, the group led us in some quiet, meditative songs.

The recitation of the rosary occurred next. Everyone, including me, had a turn leading a decade13 aloud. After praying the rosary, a visiting priest gave a presentation on St. Therese of Lisieux.

Once his presentation concluded, the charismatic portion of the meeting ensued as the room was cleared of all the desks and chairs and transformed into a dance floor. The music group led the singing, while about half a dozen young men and women led the dancing. The dance moves interpreted the lyrics, and everyone participated in approximately five songs. Occasionally, the

12 Ana Claudia is a lawyer who had recently made a total consecration to Mary; she is also the daughter of zeladora, Mariana Fernandes de Siqueira e Silva.

13 A decade in the rosary consists of the recitation of one “Our Father” and ten “Hail Mary’s.”

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dancing was punctuated with everyone shouting out in praise to God. After the dancing, the meeting concluded with a prayer.

A Visit from the Pilgrim Mother

Receiving an image of the Virgin Mary into one’s home is a common method of spreading and reiterating devotion to her. Families can request that an image of Mãe Rainha de

Schoenstatt (see Figure 4-5) visit their homes for twenty-four hours. This particular devotion emphasizes bringing health to those who are ill, or healing to those who are depressed; hence the title Mãe Rainha Visita dos enfermos (“Queen Mother who Visits the sick”).

Figure 4-5. The image of “Our Lady of Schoenstatt”, who visits the infirmed.

Women can participate in leadership roles in this devotion as a zeladora (“caretaker”). A zeladora is a woman of good standing in the Catholic community, who spreads devotion to “Mãe

Rainha” by inviting people to receive the image into their homes. She is responsible for the image to move from house to house within a thirty-house area called a sector. There are zeladoras for each neighborhood in the city that surround the parishes where the people attend mass.

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While in Pouso Alegre, I interviewed zeladora, Mariana Fernandes de Siqueira e Silva.

Mariana is a woman in her 50s, and lives in a house with her husband and daughter in the central part of the city. Mariana was born in Natércia, a small city in Minas Gerais that is close to Pouso

Alegre. She and her family lived on a farm. Her parents were religious and they would take the children to mass every Sunday. Her deep devotion to Mary came from her mother who had an image of Mãe Rainha in their home when she was growing up. Mariana’s father died when she was a young child; so, her mother took her and her sister to live with their grandparents. It was

Mariana’s grandparents who continued to cultivate the seed of devotion to Mary that her mother had planted.

Zeladoras imitate Mary’s activity as a pilgrim mother by traveling from house to house in order to assist in dispensing God’s redemptive graces (one of Mary’s roles). When I asked

Mariana why people request to have the image of Mãe Rainha come to their homes, she replied that “it is because they have affection for and are deeply devoted to Mary. In every situation a person determines their motives [for invoking Mary’s help], and she arrives at that hour.”14

The song most commonly associated with the devotion to Mãe Rainha de Schoenstatt is

Father Antônio Maria’s “Mãe Peregrina” or “Pilgrim Mother” (see Appendix). This song is printed in the official devotional booklet, and emphasizes Mary as a mother who travels from place to place to bring healing and peace to those who are sick. The song, coupled with the image combine to form a powerful sign that offers hope and assurance to those whom she visits.

Devotion to Mãe Rainha de Schoenstatt is recognized by the Church as an effective evangelizing tool, so masses are often given in recognition of the efforts of the zeladoras. I attended such a mass at the cathedral of Bom Jesus. During mass, the priest talked about the

14 Marianna Fernandes de Siqueira e Silva, personal interview, June, 2014.

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crucial role that the zeladoras have in disseminating devotion to Mary. Just prior to the end of mass, the choir sang the song “Consagração” to the zeladoras. Afterwards, the priest blessed them and their images before they went out to bring them to the families who had requested them. The closing song that the choir sang was “Mãe Peregrina.” After mass, each zeladora went their own way to take their image to their perspective families’ homes. As I was leaving the cathedral, Mariana approached me to ask if I would like to accompany her bringing the “little saint” to a person’s home. I accepted Mariana’s invitation and accompanied her to a woman’s home on Gino D’ajjioni Street. When we reached her house, Mariana knocked on the door and shouted to the woman inside. A moment later, the door opened and the lady of the house received our company. Mariana explained to her that I was visiting from the United States and was doing research on the Virgin Mary. The woman smiled, acknowledged us, and gave me permission to photograph her. Along with the image, Mariana handed her a flower and recited a short prayer of reception. The lady took the image, thanked Mariana and bid us good night.

Marian Processions

The most popular Marian procession in Brazil is the Festa da Padroeira (“The Feast of the Patron Saint”) that is celebrated on October 12 of each year. In these processions, the image of Nossa Senhora Aparecida is placed atop a hand-held cart adorned with many flowers and lights, and is carried throughout the city (see Figure 4-6).

As the image processes through the streets, people pray the rosary together, sing Marian songs like “Viva a Mãe de Deus e Nossa” and “Daí-nos a bênção,” or simply watch.

Occasionally, the prayers and songs are punctuated by the sounds of church bells ringing, firecrackers going off, or people talking. The procession finishes at the new basilica where a special mass is then celebrated. The entire celebration is televised nationwide.

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Figure 4-6. The image of Nossa Senhora Aparecida in procession, Aparecida, São Paulo state.

Mary and the Feast of Corpus Christi

No other person, not even the priest, is closer to the Eucharist than Mary.

—St. Augustine

Corpus Christi procession are both Eucharistic and Marian. For this reason, the mother of

Jesus is often acknowledged in prayer during Eucharistic processions. The Feast of Corpus

Christi is celebrated every June 19th, with a mass and Eucharistic procession. There is a prescribed order for the procession that resembles the Marian version. Eucharistic processions are led by a crucifix bearer, paired altar servers, ministers, and priests. The bishop remains toward the back with the Eucharist. The people usually follow behind the procession, or are lined up along the street. The procession proceeds in a solemn fashion with the Blessed Sacrament15 to its place of destination, usually another church.

15 For Catholics, the Blessed Sacrament is believed to be the true presence (body, blood, soul and divinity of Jesus Christ), and is therefore sacred.

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Songs associated with Corpus Christi processions are often emotionally charged. An example of such a song is “Tão Sublime Sacramento” (“Sacrament So Sublime”). This song is sung during both Eucharistic adoration16 and prior to Corpus Christi processions. In verse one, the text helps create a sacred atmosphere where the people can adore, and contemplate the true presence of Jesus in the Eucharist, a presence that Mary brought forth.

Verso 1 Verse 1

Tão sublime Sacramento So sublime a sacrament

adoremos neste altar we adore at this altar Pois o Antigo Testamento For the Old Testament

deu ao novo seu lugar gave your place anew

Venha a fé, por suplemento Come faith, by (our) supplication

os sentidos completar. fulfill our feelings.

The second verses text is comprised of a short of praise to the Holy Trinity, which resembles Mary’s giving praise to God in her Magnificat (see chapter 3).

Verso 2 Verse 2

Ao eterno Pai cantemos To the Eternal Father we sing

e a Jesus, o Salvador. and to Jesus, the Savior.

Ao Espírito exaltemos To the (Holy) Spirit, let us exalt

Na Trindade, eterno amor in the Trinity, eternal love.

Ao Deus uno, e Trino demos To the one God in three, we give

a alegria do louvor. the joy of praise.

16 Eucharistic adoration is a period of time set aside to meditate and pray before the Blessed Sacrament which is “exposed” (placed) in a vessel is called a monstrance. Adoration can occur individually, in groups, or can be in the form of a liturgy.

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In June of 2014, I attended the Corpus Christi procession in downtown Pouso

Alegre. Prior to the procession, a mass was celebrated at the cathedral of Bom Jesus. After mass, the choir led everyone in singing “Tão Sublime Sacramento,” which immediately set the tone for the procession that followed. The tempo was slow and reverent, while the vocal quality of the singing was sweet, convicted, and at times even pleading. Most people were kneeling with their heads bowed; however there was a woman who raised her hands in a gesture of adoration as the words a alegria do louvor (“the joy of praise”) were sung (see Figure 4-7).

Figure 4-7. A woman praising Jesus’ true presence in the Holy Eucharist with a right hand gesture.

The procession began just outside the cathedral, and finished at the “Sanctuary of the

Immaculate Heart of Mary” a few blocks away. The entire community participated. The altar servers led the way carrying the crucifix, incense, and lamps. Just behind them was a group of about twenty Eucharistic Ministers. The archbishop, José Luiz Majella Delgado, the Blessed

Sacrament and a group of priests followed marking the place of honor. The people either walked behind or alongside the procession. The Blessed Sacrament was protected from the elements underneath a canopy, called a baldaquim, atop a hand-held cart that was supported by four men

(see Figure 4-8).

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Figure 4-8. The Corpus Christi Procession, Pouso Alegre.

At about four minutes into the procession, the Eucharistic ministers led the people in praying the rosary. As the procession made its way down the streets, the sound of bells and the smell of incense, wood chips and coffee beans overwhelmed the senses. In the middle of one street was a long, red carpet decorated with both Eucharistic and Marian designs. Two young girls dressed in white as angels marked one of the turns that the procession made. After approximately twenty-five minutes, with the conclusion of the rosary, the procession reached its destination, the Sanctuary of the Immaculate Heart of Mary.

Novenas

Novenas to the Virgin Mary are yet another activity that illustrates devotion to the Virgin

Mary. A is a formulaic prayer of personal (or communal) devotion that occurs for nine consecutive days. Novenas are prayed for a particular intention or in preparation for a Marian or

Saint’s Feast Day Celebration. In Brazil, there are many Marian novenas available to devotees.

For example, there are novenas to Nosa Senhora Aparecida, Nossa Senhora de Fátima, Mãe

Rainha de Schoenstatt, and to Nossa Senhora Desatadora dos Nós17 (“Our Lady, the Untier of

Knots”). People use novena booklets that can be purchased at Catholic bookstores or online, to

17 Devotion to “Our Lady, the Untier of Knots” was popularized in Latin America by Jorge Mario Bergoglio (now ). This devotion is strong in Argentina, and was brought to Brazil during the late twentieth century. The Santuário de Nossa Senhora Desatadora dos Nós is located in Campinas, Brazil.

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help them participate in correct fashion. The common elements found in most Marian novenas include a history of the particular devotion, prayers, a scripture reading and reflection, an Our

Father - Hail Mary - Glory to God, supplications, and of course singing. Novenas that are for specific devotions like Nossa Senhora de Fatima, and Mãe Rainha de Schoenstatt have their own songs (“A treze de maio” and “Mãe peregrina” respectively) associated with them; whereas novenas to Nossa Senhora Aparecida often suggest a number of popular songs like “Daí-nos a benção” or “Viva a mãe de Deus e nossa.”

Conclusion

Singing Marian songs is a significant part of the daily lives of Brazilian Catholics in

Pouso Alegre, and elsewhere where Mary is venerated. These songs nourish the spiritual needs of the people just like coffee, rice and beans do the mind and body. This chapter has examined several activities that devotees in southern Minas and the surrounding area take part in on a regular basis. Beginning with the most fundamental routine, the weekly mass, it was revealed that Marian songs like “Daí-nos a benção” are often requested by priests to be sung to remind the people that Mary is special (both doctrine and virtues are reflected in the songs) and therefore deserves to be honored. It was demonstrated how certain Marian songs such as “Consagração” and “Mãe peregrina” are selected to be sung at masses that included rituals like celebrating those who made a consecration to Mary or were being recognized for their work as a zeladora. Weekly group prayer meetings, like the charismatic or youth group meetings, were shown to have Marian components. The members of the Casa De Formação for example, engage in praying the rosary and in singing Marian songs. They do so in order to both venerate Mary, and to utilize her as a leader in the task of evangelization. The young adults who attend the Reuniões de jovens (Youth group meetings) also honor Mary through their participation in praying the rosary, and singing

Marian songs. In addition, many of them are members of the parish of Nossa Senhora de Fátima, 121

and often participate in the Church activities like praying novenas. Although not as frequently occurring as other Marian activities, nine-day novenas are prayed in times of need or in preparation for the many celebrations (like masses and processions) that occur on special feast days. Devotion to Mãe Rainha de Schoenstatt is another Marin activity in which people take part. In this devotion, the Virgin Mary herself is a pilgrim mother who travels to people’s homes to bring healing to the sick or depressed. The song associated with this devotion, “Mãe

Peregrina,” echoes what Mary brings to the people, hope, healing, and happiness.

The next chapter discusses the results from the application of semiotic analysis to performances of Marian songs. The analysis identifies the usage of three vocal tones, techniques and various physical gestures that communicate truth to devotees; identifiable truths that can affect a change in the way people live their lives.

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CHAPTER 5 SINGING AND MARIAN DEVOTION IN SOUTHERN MINAS: CASE STUDIES IN POUSO ALEGRE AND THE NATIONAL SHRINE OF NOSSA SENHORA APARECIDA

The crucial link between identity formation and arts like music lies in the specific semiotic character of these activities, which make them particularly affective and direct ways of knowing. ̵ ̵ Thomas Turino

The content of this chapter comprises case studies that focus on analysis of performances of Marian songs from a Turino-based semiotic perspective. My analysis is framed around the concept of how dicent-indices produce emotional and energetic interpretants, both of which are understood as indicators of truth in the minds and hearts of the interpreters. Dicent- indices are among the most direct and convincing sign types because they frequently are interpreted as being real, true, or natural.1 Dicent-indices are comprised of both dicent and index. A dicent represents its object in respect to actual existence, and is interpreted as being affected by its object. An example of dicent is a weathervane. An index is a sign that is related to its object through co- occurrence in actual experience. Examples of indices include smoke to fire, a song tied to a television show, or an authentic cadence (V-I) meaning closure in Western music. Common examples of dicent-indices used during singing include vocal tone (interpreted as a natural expression of a person’s attitude), facial expressions, physical gestures, and body posture. People frequently interpret all of these as an indication of the singer’s intent, which can communicate commonly shared conceptions. Emotional interpretants are direct, unreflected-upon feelings that are caused by a sign; whereas, energetic interpretants are physical reactions caused by a sign, and may include applauding, synchronized clapping, hand waving, crying, smiling, and other body

1 Thomas Turino, Signs of Imagination, Identity, and Experience: A Peircian Semiotics Theory for Music, Ethnomusicology, Vol.42, No.2, 1999, 229.

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movement. These reactions are part of a recognized system of signals that comunicate truth because they are linked to people’s personal experience, unmediated by language.

The display of dicent-indices during performances and the emotional or energetic reactions caused by them construct a shared group experience among Marian devotees. A by- product of this shared experience is conversion. I therefore submit that people’s behavior can be transformed by having a devotion to the Virgin Mary, and that singing is the primary expression of establishing and maintaining this organic process. This behavioral transformation manifests itself through the adoption of Marian virtues like humility, contemplation, obedience, purity, wisdom, trust, and charity. In essence, the emulation of these virtues brings about Marian attitudes, and behaviors or what I call “Marianisms.”

Case studies were performed in two locations, the city of Pouso Alegre, Minas Gerais, and at the National Shrine of Nossa Senhora Aparecida in Aparecida do Norte, São Paulo state. I interviewed and recorded three male singers, Fr. Celso Antonio Lélis Diogo, Luís Fonseca

Scofield, and Leandro Evaristo Ferreira. Both Fr. Celso and Luis Schofield reside in Pouso

Alegre, while is from Osasco, São Paulo. Father Celso is originally from São

Paulo, has been a priest for approximately 25 years, and is popular in Catholic charismatic circles. Luis Schofield is a singer-guitarist who works with choir director Vitória Candida

Moreira, and her husband composer-singer-guitarist Geraldo de Paula Moreira, at the metropolitan cathedral parish of Bom Jesus. Leandro Ferreira is a singer-guitarist, who plays and sings with Sister Míria Kolling’s choir. He and the choir were in town to honor Sister Kolling for having completed 45 years of composing music for the Catholic liturgies in Brazil. The choir gave performances at both the old and new basilicas in Aparecida. In addition to the three above- mentioned male singers, I recorded three mass congregations and a prayer group, all located in

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Pouso Alegre. These included the Saturday evening vigil mass congregation at the parish of

Nossa Senhora de Fatima, a charismatic healing mass at the parish of Nossa Senhora Aparecida e São Francisco, a mission mass at Monica Fernandes’ house, and a charismatic prayer group gathered for their weekly meeting at the Casa de Formação de Nossa Senhora Auxiliadora,

Comunidade Emanuel.

The act of singing Marian devotional songs includes vocal and gestural signs (dicent- indices) that are interpreted as indicators of religious truths. This common interpretation is established when the tone of the voice and or gestures display something that devotees can identify with via their own religious experiences. My understanding of how the people interpret these signs has been formulated by examining data collected from performance analysis, and by observing both performer and listener reactions. Through the regularity of indexical linking, the co-occurances of various dicent-indices and their direct association with textual meaning that expresses similar sentiments, I have discovered three main varieties of vocal tone, and five physical gestures. My vocal and gestural categories map a range of understanding that togther expresses Marian aspects such as contemplation, supplication, and affirmation. The three varieties of vocal tones include the prayerful, pleading, and the powerful. The prayerful vocal tone is a warm, soft, meditative sound with some breathiness. This vocal tone usage signifies quiet supplication to mother Mary. The pleading tone is one where the voice falters, breaks, or weeps, and occurs when making an emotional plea to the Blessed Virgin for help. The powerful tone is a full-throated, intense, loud sound. This tone is one of conviction, and represents an aural reiteration of Mary’s necessary role in people’s lives. Singing with a powerful tone makes a passionate statement about faith, one that affirms the importance of venerating the mother of

Jesus.

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Physical gestures during song performances also aid in communicating religious truth.

Through performance analysis, I have determined five such gestures. The most common is the lifting up of one or both arms anywhere between forty-five to a ninety degree angle, with palms facing upward. This gesture has multiple meanings, depending of the text and context. For example, it can signify the act of giving praise to God, or can be an invitational or supplicatory gesture. The second most popular gesture is the turning of the head to one direction and back.

When a singer turns their head to one side and back, they are communicating the unmitigated

(“without a doubt”) truth to their listeners. The third most popular gesture used by singers is that of placing one hand (or crossing both) over their heart. The meaning behind this gesture illustrates a sentiment of faith experienced deep within the resesses of the human heart. Smiling is the fourth most popular gesture, and is a sign of a happy disposition that communicates a confirmation of faith. The fifth most popular gesture is what I shall call the “Marian gaze,” and occurs when a singer looks upward for a brief moment. In so doing, the singer is telegraphing to others that he or she acknowledges Mary as having access to the divine.2 As in the case of the vocal tones mentioned above, this gesture also co-occurs with certain song texts.

Within the vocal tone categories listed above exist a subset of vocal effects that further communicate religious truths to Catholics as they help emphasize Marian virtues, doctrines and roles whenever mentioned in the song text. Steming from an interpretation and/or reiteration of the meaning behind the text, these techniques include the employment of vibrato, scoops, trembles3, pitch bends, pitch falls, and descending slides (see Figure 5-1). The use of vibrato brings warmth to the sound, and is particularly effective when referencing Mary as a loving and

2 Mary’s presence in heaven is supported by the doctrines of Mother of God and the Assumption.

3 Vocal trembles differ from vibrato in that they resemble a highly emotional bleat.

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protective mother. “Scooping” into a pitch brings a rustic (folk-like) quality to the sound, emphasizing a strong, simple faith. Pitch bends bring a certain sense of realism (like a blue note) to the word or syllable on which they occur; whereas pitch falls and descending slides enhance the emotion behind the meaning of the text, similar to the use of word painting. Vocal trembles are extreme emotional displays that communicate a sense of empathy or urgent supplication.

Vocal Effect Symbol Vibrato

Vocal tremble Vocal Scoop

Pitch bend

١ Pitch fall Descending slide \

Figure 5-1. Notations representing Vocal effects employed during performances by Fr. Celso, Luis and Leandro.

A Charismatic Priest Sings to Mary

Priests who are “spirit filled” fall into the category of charismatic. These priests often have a deep devotion to Mary, and people are drawn to them because of their joyful, friendly dispositions. An especially attractive quality in these types of priests is their ability to sing.

Brazil has a handful of popular “Marian” priests who sing well. Four come to mind, Fr. Marcelo

Rossi, Fr. Zezinho, Fr. Antônio Maria, and Fr. Fábio de Melo. These singing priests4 play an important role in disseminating the faith through their music, but are especially adept in spreading devotion to the Virgin Mary. While in Pouso Alegre, I had the privilege of meeting such a priest, Father Celso Antonio Lélis Diogo.

4 For more information on this topic, see André Ricardo de Souza’s “Igreja in Concet: Padres Cantores, Mídia E Marketing”.

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Fr. Celso is a charismatic priest who has a strong devotion to Mary. When I asked him about this, he told me that his mother’s own devotion influenced him greatly. Fr. Celso’s mother had a small altar in their house, and on it was an image of Nossa Senhora Aparecida. He described his mother’s altar as a “staging” of her fervent devotion to the Virgin Mary, and mentioned that he had grown accustomed to seeing it over the years. It was this image of Mary, as well as his mother’s devotion, that made him eventually want to become a priest.5

Singing is an important component for having a devotion to the Virgin Mary. Fr. Celso mentioned to me that there are many beautiful songs written by priests. He mentioned Fr.

Antônio Maria, author of the song “Mãe Perigina” which is associated with the devotion to Mãe

Rainha de Schoenstat (see chapter 4), as one of these singer- priests. He stated that Fr.

Antônio’s song was the fruit of his having a profound relationship with the Virgin that included making a total consecration to her. At one point during the interview, I asked Fr. Celso if he had a favorite Marian song. He responded by singing the refrain to Roberto Carlos’ song titled

“Nossa Senhora”6 (see refrain text below).

Refrain

Phrase 1: Nossa Senhora me dê a mão Our Lady, give me your hand

Cuida do meu coração Take care of my heart,

Phrase 2: Da minha vida do meu destino my life, my destiny

Phrase 3: Nossa Senhora me dê a mão Our Lady, give me your hand

Cuida do meu coração Take care of my heart,

Phrase 4: Do meu caminho of my path,

Cuida de mim take care of me.

5 Father Celso Antonio Lélis Diogo, personal interview, June, 2015. 6 For the full score, see appendix.

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Fr. Celso’s use of both prayerful and pleading vocal tones conveyed the Marianism of supplication, specifically asking the Virgin Mary for protection. During his first rendition of the refrain, while singing the words Nossa Senhora me dê a mão (“Our Lady, give me your hand”), and cuida do meu coração (“take care of my heart”), his voice and appearance communicated the act of praying. While employing a meditative/breathy tone with some warm vibrato, father placed his right hand over his heart as he sang the words cuida do meu coração (Listen to audio/video file 1). Both vocal tone and gesture indicated his giving witness to placing his trust in Mary.

Father Celso’s vocal tone during the repetition of the refrain changed from a prayerful to a pleading one, further reinforcing the Marianistic character of supplication through varied repetition with a slight increase in emotional display. While singing the initial six words, Nossa

Senhora me dê a mão (“Our Lady, give me your hand”) Father increased his volume and lifted up his right hand (with palm facing up) signifying a more urgent request. Then, while singing the words cuida do meu coração (“take care of my heart”), he returned to a prayerful tone, moved his right hand back over his heart, and closed his eyes; revealing an attitude of deep prayer and heartfelt devotion. As he sang the second to last line of the song, do meu caminho (“of my way”), father emphasized yet an even more peaceful attitude by placing his left hand over his right. Then, as as a sign that his request had been addressed, father sang the last three words cuida de mim (“take care of me”) while opening his eyes, raising his eyebrows, smiling (see

Figure 5-2). In so doing, Fr. Celso conveyed his assurance that Mary had addressed his request.

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Figure 5-2. Fr. Celso smiling with both hands crossed over his heart, a sign of assurance.

In addition to priest-singers who are devoted to Mary are laymen and women who express their devotion through singing Marian songs. The discussion will now turn to the performance analysis of two lay male singer-guitarists.

Luis Sings to Mary

I recorded Luis Scofield at the cathedral of Bom Jesus on a Monday evening after mass.

He sang two Marian songs, Roberto Carlos’ “O Terço”7 (literally “the third,” or one mystery of the entire rosary), and local singer-songwriter Geraldo de Paula Moreira’s song titled “Virgem

Santa Aparecida”8 (“Holy Virgin Who Appeared”), from his mass Maria, Mãe Aparecida

(“Mary, Mother who appeared”). Luis accompanied himself on the guitar. Since the church was empty, his voice echoed throughout the large space. There were some occasional loud bangs heard in the background because the cathedral is located at the center of the main city plaza, a very busy intersection; and since the doors were open, the noisy traffic outside was quite audible.

The Marianisms Luis displayed during his rendition of “O Terço” included supplication, empathy, contemplation, and obedience. He accomplished these by employing both pleading and

7 See Appendix for my transcription of this song.

8 See Appendix.

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powerful vocal tone varieties, vocal techniques like vibrato, vocal trembles, and pitch slides, and by using three gestures, turning his head from one side to the other and back, leaning back slightly (relaxing), and employing the “Marian gaze.”

The act of supplication was emphasized during verse one (see below). Luis began singing with a sad, pleading vocal tone, and employed a vocal tremble on the first syllable of the word ter-ço (a third of the rosary). He ended the phrase with a warm vibrato on the name Maria

(Listen to audio/video file 2, see Example 5-1). The physical gesture that accompanied this somber-sounding tone was a more relaxed posture, indicating a sense of trust in Mary’s roles as a mother and intercessor.

Verse 1

Phrase 1: Com o terço na mão With the rosary in hand

peço a vós minha Virgem Maria I ask you my Virgin Mary

Phrase 2: Minha prece levai a Jesus Take my prayer to Jesus,

Santa Mãe que nos guia oh Holy Mother who guides us

Phrase 3: Com o terço na mão With the rosary in hand

peço a vós minha Nossa Senhora I ask you my ‘Our Lady’

Phrase 4: Por nós todos rogai a Deus Pai, Pray for us all to God the Father,

Vos pedimos agora we now ask

Example 5-1. The vocal techniques of a trembling and vibrato signify supplication.

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Luis continued illustrating supplication during the second phrase by turning his head to his right and back as he sang the name Jesus, and by adding vibrato to the words prece (prayer), levai (take), and guia or guide (see Example 5-2).

Example 5-2. Vibrato added to the words that indicate a desire for Marys’ guidance through Jesus.

During the conclusion of phrase three, Luis conveyed a sad, empathetic sentiment through the use of vibrato, by adding a tremble to his voice, and by turning his head to his right and back again as he sang the word Senhora (see Example 5-3). This emphasis of sadness here can be linked to Mary’s experience as the “Sorrowful Mother” when she witnessed the death of her own son, and the empathy she feels when one of her devotees suffers.

Example 5-3. Trembling on the word Senhora communicates empathy for those who suffer.

The same vocal techniques and gestures that were utilized in the third phrase were also used in the fourth, however to once again emphasize supplication. In order to impart this return to an earlier sentiment, Luis turned his head to the right and back while singing the words a Deus

Pai (Father God), indicating that devotees can pray to God the Father through Mary. He next added a sad-sounding vibrato to the word todos (all of us), vocal tremble on the word rogai

(pray), and vibrato on the word agora (now), which represents an urgent plea for Mary to intercede on behalf of her devotees (see Example 5-4).

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Example 5-4. Sad-sounding vibrato and a tremble indicating a sense of urgency.

Vocal scoops, trembles, vibrato and descending pitch slides, along with subtle physical gestures were utilized to emphasize both supplication and empathy during the second verse (see text below). While singing the initial part of the first phrase, Luis “scooped” (slid up to) the pitch on the first syllable of the word ͜ter-ço. As mentioned above, scooping represents a type of singing equated with having a traditional faith that emphasizes a strong belief in the power of praying the rosary. He trembled on the first syllable of the word ter-ço, and added vibrato to the words mão (hand), joelho (kneeling), and pedimos (we ask). In the first instance, Luis added a tremble in his voice to bring out the sacred power of the rosary; whereas his use of vibrato on the words mão, joelho, and pedimos emphasized the act of praying. A fourth vocal technique employed by Luis was the descending pitch slide. When finishing the first phrase (see above) on the word pedimos (“we ask”), he slid down from the first to the second syllable, pe- →di-mos

(Listen to audio/video file 3), and then leaned his body back slightly, signifying a humble posture and attitude of a believer making a request to the Virgin (see Exmple 5-5).

Verse 2

Phrase 1: Com o terço na mão With the rosary in hand

De joelho no chão vos pedimos While kneeling on the floor we ask you

Phrase 2: Aliviai as tristezas e as dores Relieve the sorrows and pains

Que as vezes sentimos that we sometimes feel

Phrase 3: Clareai o caminho daqueles Straighten the way of those

Que vivem perdidos that are the living lost

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Phrase 4: E olhai por aqueles que o mundo And take heed of those whom the world

Deixou esquecidos has forgotten

Example 5-5. A vocal scoop, tremble, vibrato and descending pitch slide communicate the power of prayer and humility respectively.

During the second phrase of verse two, Luis communicated supplication by emphasizing the words tristezas (“sadness”), dores (pains), and sentimos (we feel) with the use of vibrato and by turning his head to the left and back. In so doing, he reinforced the belief that Mary has the power to remove sorrow (see example 5-6). Then, while finishing the phrase on the word sentimos (“we feel”), Luis leaned slightly to the left in order to illustrate, through body motion that he empathizes with those who feel pain and sorrow because he himself has experienced it.

Example 5-6. The use of vibrato on the word tristezas emphasizes a plea for relief from the sorrows of life.

In phrases three through four the Marianism portrayed through vocal techniques, gesture, and the text is that of an empathetic devotee calling upon the Blessed Mother to rescue those who have strayed from a life of virtue and grace. Beginning with phrase three, Luis conveys this sentiment by trembling on the words clareai (clarify), caminho (the way), daqueles (of those), moving his head slightly forward while singing the words o caminho daqueles (“the path of those”), by placing a vocal tremble on the word perdidos (“the lost ones”). In phrase four, he adds a tremble to his voice while singing the words olhai (take heed), and esquecidos (the

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forgotten). All of these indicate a desire to emulate Mary by empathizing with those who suffer

(see Example 5-7).

Example 5-7. Vocal trembles and a soft dynamic level at the verses end communicate empathy for the lost and forgotten.

The most intense display of semiotic reference came during Luis’ singing the refrain (see text below), where he communicated supplication by using a mixture of both pleading and powerful vocal tones, scoops, vibrato, dynamic variations (Listen to audio/video file 4), and various types of body movement that include the “Marian gaze.” While singing the refrain the first time, Luis applied a warm vibrato to the second and third syllables of the name Ma-ri-a.

Immediately afterwards, he relaxed his posture. Then, he finished the phrase by scooping the pitch and adding vibrato to the word nós, which means “us” (see Example 5-8).

Refrain

Phrase 1: Santa Maria rogai por nós Holy Mary, pray for us

Phrase 2: Que recorremos a vós. who have recourse to you.

Repeat: Santa Maria rogai por nós Holy Mary, pray for us

Que recorremos a vós. who have recourse to you.

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Example 5-8. Warm vibrato and a vocal scoop, used to communicate supplication to the Virgin Mary.

Just prior to finishing the second phrase, Luis leaned to his right. Then, while singing the last two words a vós (to you), he turned his head to his right and back, and incorporated a descending pitch slide (a → vós). In so doing, Luis emphasized Mary’s understood role as an intercessor who can distribute graces (see Example 5-9).

Example 5-9. The employment of a descending pitch slide emphasizes Mary’s God-given power to distribute graces to humans.

When he repeated the refrain (Listen to audio/video file 5), Luis communicated supplication in yet an even more emotional fashion by increasing the dynamic level to forte, adding a more intense vibrato, and by gazing upward for an instant in acknowledgement of

Mary’s divine access. As Luis began singing the refrain again, he employed rubato while crescendoing to a forte on the name Maria, and added much more vibrato. Then, he leaned to his left just before singing the words rogai por nós (“pray for us”), and scooped the pitch on the word nós as he had done earlier. He ended the refrain by decrescendoing to a piano dynamic level on the phrase que recorremos (those who have recourse to), and by turning his head to the right and back before singing the last two words a vós or “to you”, and with a vocal scoop on the word a (see Example 5-10).

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Example 5-10. The use of a crescendo, decrescendo, vibrato and vocal scoops convey an emotional plea to the Virgin Mary to pray to God for them.

The most significant visual semiotic moment however came just after he sang the word nós, as it was in this instant that he gave an upward glance (see Figure 5-3) for a brief moment in order to acknowledge the Virgin.

Figure 5-3. Luis demonstrating the “Marian gaze” with a quick glance upward to his left, while singing Roberto Carlos’ “O Terço.”

In verse three (see text below) a different Marianism was illustrated in performance: contemplation. Luis communicated this by singing with an overall pleading tone, by adding vibrato and by turning his head slightly to his right and back in order to emphasize certain words or short phrases. For instance, in the first phrase of verse three, Luis highlighted the contemplative words mistérios (mysteries), nascer (birth) and alegria (joy) by adding vibrato

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(see Example 5-11). Just prior to singing the second line, de Jesus e a alegria, he turned his head slightly to his right and back to convey that Mary’s son Jesus is the center of her (and her devotees) contemplation.

Verse 3

Phrase 1: Nos mistérios contemplo o nascer I contemplate the mysteries

de Jesus e a alegria of the birth of Jesus and the joy

Phrase 2: Na paixão por amor preso a cruz in the passion of love that is attached to the cross

Sua dor e agonia your pain and agony

Phrase 3: Sua ressurreição e aos céus ascensão His resurrection and ascension to heaven

No terceiro dia On the third day

Phrase 4: Vossa coroação junto a Deus Your coronation before God

Coração de Maria Mary’s Heart

Example 5-11. Vibrato bringing emphasis to words that evoke contemplation.

Luis employed similar techniques to suggest contemplation of Jesus’ death through crucifixion and his resurrection, namely adding vibrato and turning his head to his right and back, in phrases two through four. In the second phrase (see text above), he first added vibrato to the words paixão (Passion), cruz (cross), then turned his head to the right and back as he sang the

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words preso a cruz (attached to the cross). He ended the phrase with a good amount of vibrato on the last word, agonia (see Example 5-12).

Example 5-12. Vibrato, accentuating the agony that Christ suffered during his Passion and death.

In phrase three, Luis highlighted the day of Jesus’ resurrection by first using vibrato on the word ressurreição (resurrection), turning his head to his right and back while singing the words No terceiro dia (on the third day), and by adding vibrato to the word dia for emphasis (see Example

5-13).

Example 5-13. The use of vibrato aids in underscoring the excitement surrounding Jesus’ resurrection.

The images of Mary’s coronation as and earth, and that of her heart are indexed in the fourth phrase by the use of vibrato and a head turn. Luis added vibrato to the words coroação

(coronation) and Deus (God), and then drew special attention to the image of Mary’s contemplative heart (see Example 5-14) by turning his head slightly to his right and back while singing the words

Coração de Maria.

Example 5-14. Vibrato employed to emphasize Mary’s coronation in the presence of God the Father.

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In verse four (see text below), Luis imparted the Marian virtue of obedience by employing both pleading and powerful vocal tones; vocal scoops, vibrato (Listen to audio/video file 6), and by turning his head to his right and back. During the opening phrase, the text emphasizes the virtue of obedience by making a personal statement about faith and praying the rosary. Luis begins by continuing to sing with a pleading tone at first, scooping the pitch on the first syllable of the word ter-ço, adding vibrato to the word mão (hand), and then by crescendoing on the words mãe querida (see Example 5-15).

Verse 4

Phrase 1: Com o terço na mão With the rosary in hand

E com fé aprendi mãe querida and with faith I have learned, dear

Mother Phrase 2: Que aceita a vontade de Deus Accepting the will of God

É o maior bem da vida is the greatest good in life

Phrase 3: Queres ajudar um irmão to help a brother

No instante do seu sofrimento At the time of his suffering

Phrase 4: É amar nosso próximo is to love our neighbor

E servir a Deus Pai nesse momento. and serve God the Father this

moment.

Example 5-15. A vocal scoop, vibrato and crescendo used in this instance to indicate an understanding that praying the rosary with faith will lead to obeying God’s will.

The virtue of accepting the will of God is emphasized in the second phrase. Luis conveys this by incorporating a powerful vocal tone, adding vibrato to the words aceita (accept) and vida

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(life), turning his head to his right and back while singing the words a vontade de Deus (the will of God), and by performing a vocal scoop on the word Deus (God). The sentiment of obeying

God’s will continued to be displayed in the following third phrase (see above) with the text Que ajudar um irmão no instante do seu sofrimento which translates to “To help a brother at the time of his suffering.” Here, Luis turned his head to his right and back while singing the word ajudar um irmão (to help a brother), trembled on the words ajudar (to help) and irmão (brother), and added vibrato to the words irmão, no instante (at the time of), and sofrimento (see Example 5-

16).

Example 5-16. A vocal scoop, trembles and vibrato used to represent obedience to God’s will by helping out a brother in need.

The fourth phrase functions as a summary for the entire verse. The core meaning expressed is that when one follows Marys’ way, God’s will (to love and help your neighbor) becomes easier to accept and obey. Luis uses the same vocal techniques and gesture that he did in the previous phrase to convey this Marianism. For example, while singing the words amar nosso próximo (to love your neighbor), he turned his head to his right and back, and added vibrato to the words amar and próximo. Then, while ending the phrase on the words nesse momento (this moment), he once again turned his head to his right and back, signifying that by loving one’s neighbor one is also serving God in the same moment (see Example 5-17).

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Example 5-17. Vibrato used to signify God’s love by having a love of one’s neighbor.

The second song Luis sang was Geraldo de Paula Moreiras’”Virgem Santa Aparecida.”9

In this song, he displayed the Marianistic traits of veneration and supplication. During the first two lines of verse one (see text below) Luis’s voice became weepy while singing the words

Santa (“holy”), Aparecida (“appeared”), and Imaculada (“Immaculate”). He accomplished this by adding a tremble to each syllable of the first three syllables of the word A-pa-re-ci-da (Listen to audio/video file 7), and to the last two syllables of I-ma-cu-la-da (see Example 5-18).

Verse 1

Phrase 1: Virgem Santa Aparecida Holy Virgin, of the Appeared

Imaculada, Mãe de Deus Immaculate, Mother of God

Phrase 2: Aqui estamos pra vos louvar We are here to praise you

Oh Mãe de Deus e também Oh Mother of God and also

nossa mãe our mother

In so doing, Luis simultaneously emphasized Aparecida as a holy place where people can receive graces, and Mary’s special status of being preserved from the stain of original sin.10 It was also during this first verse that Luis reinforced the doctrinal belief of Mary as God’s mother when he turned his head slightly to the left and back again as he sang the words Mãe de Deus (Mother of

God). Recall that a head turn and back signifies the truth.

9 See appendix for my transcription of this song.

10 The Doctrine of the Immaculate Conception.

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Example 5-18. Vocal trembles on sacred names and titles are used to represent reverence.

Luis emphasized the Marianisn of supplication while singing the refrain with a louder, pleading tone. He used a vocal scoop and vibrato on the last syllable of the word con-du-zi

(guide) while altering the tempo slightly with rubato. Next, he scooped the second syllable of the word ca-mi-nhos (paths), and used a pitch slide from the second to the third syllable (mi → nhos). Finally, Luis scooped the first syllable of the word pas-sos (steps), and added vibrato to the last syllable to the word vi-gi-ai, or “watch over” (Listen to audio/video file 8). In each case, the employment of a pleading vocal tone, vocal scoops and vibrato communicated a plea for

Mary’s guidance throughout a person’s entire lifetime (see Example 5-19).

Refrain

Phrase 1: Conduzi nossos caminhos Guide us on our way

Nossos passo vigiai Keep watch over our steps

Phrase 2: Mãe clemente, medianeira Merciful Mother, Mediator

Junto de Deus nos amparai Next to God help us

Example 5-19. Vocal scoops, vibrato, and a pitch slide indicate a devotee’s desire for guidance from the Blessed Mother.

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During the second phase of the refrain, Luis used vibrato, vocal scoops, and trembles to further reference supplication and reverence for God (Listen to audio/video file 9). Examples of vibrato occur on the first and third syllables of the word Me-dia-nei-ra (mediator). Vocal scoops were employed twice, once on the first syllable of the word Me-dia-nei-ra, and again on the last syllable of the word am-pa-rai (help). In the case of the latter however, a scoop only occurred during the first ending of the refrain and not the second because the former pauses on the dominant pitch ‘A’, and is “open” harmonically, whereas the latter terminates on the tonic pitch

‘D’. Vocal trembles were used each time Luis sang the name Deus or “God” (see Example 5-20).

Example 5-20. Vibrato, vocal scoops, and trembles signify a desire for Mary’s intercessory help and reverence of God respectively.

The Marianism displayed in the second verse (see text below) is that of veneration. The vocal techniques that Luis used to impart veneration-included vibrato, a descending pitch slide, and four pitch scoops. The physical gesture used was the turning of his head to his right and back. Beginning with the first phrase, Luis used vibrato on the second syllable of the word san-ta

(holy). Next, while singing the name Aparecida, he turned his head to his right and back, and

Verse 2

Phrase 1: Virgem Santa Aparecida, Holy Virgin of the Appeared, louvada sois pela Trindade praised are you by the Trinity

Phrase 2: aqui na terra nos bendizemos Here on earth we bless vosso amor por nós, O Senhora Aparecida your love for us, O Lady who Appeared

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employed a descending pitch slide between the fourth and fifth syllable (A-pa-re-ci→da). At the end of the phrase, Luis emphasized the Holy Trinity’s praises for Mary by placing a vocal scoop and vibrato on the second syllable of the word Trin-da-de or “Trinity” (Listen to audio/video file

10, and see Example 5-21), while simultaneously turning his head to his right and back.

Example 5-21. The use of vibrato, a pitch slide, and vocal scoop underscore Mary’s worthiness of honor and praise. Luis used most of the same techniques (vocal and gestural) in the second phrase of verse two as he had in the first, in order to convey veneration. For example, he utilized vibrato on the first syllable of the word ter-ra (earth), scooped the pitch on the word nós (we) twice, and the third syllable of the word ben-di-ze-mos, or “we bless” (Listen to audio file/video 11). Then, Luis turned his head to the right and back as he sang the words vosso amor (your love). He finished the phrase by adding vibrato to the second syllable of the title Se-nho-ra, and to the fourth and fifth syllables of the word A-pa-re-ci-da (see Example 5-22).

Example 5-22. The use of vibrato and vocal scoops reiterate that Mary, a holy Virgin mother who appeared to three lowly fishermen, is worthy to be revered.

Many of the vocal tones, techniques and gestures that Luis utilized in the first and second verse are repeated in the third verse (see text below) to communicate both veneration and supplication. However, he does introduce a few different techniques. For example, in the first phrase, Luis uses a pitch fall from the first to the second syllable of the word Bra-sil, and a vocal

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tremble on the third syllable of the word pa-do-ei-ra (Patroness) to emphasize Mary’s title the country’s Patroness (Listen to audio/video file 12). Then, in the second phrase, he makes an emotional plea for Mary to continue to watch over Brazil with a vocal scoop on the word mãe, and with a crescendo/decrescendo along with the associated text (Listen to audio/video file 13, and see Example 5-23).

Verse 3

Phrase 1: Virgem Santa Aparecida, Holy Virgin of the Appeared,

do Brasil sois padoeira You are the patroness of Brazil

Phrase 2: Protegei a nossa pátria Protect our homeland

O doce mãe e Senhora Aparecida O sweet mother and Lady of the Appeared

↑

Example 5-23. The use of a pitch fall on the second syllable of the word Bra-zil, a vocal scoop and a crescendo/decrescendo during the second phrase all signify a desire for protection.

In the first phrase of the fourth and final verse (see text below), Luis used a tremble on the first syllable of the word san-ta (holy), a recitative-like singing style while vocalizing the words pelo Espírito (“by the Holy Spirit”), another vocal tremble and scoop on the third syllable of the word con-se-be-ste or “conceived.” In so doing, he conveyed the sacred mystery

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surrounding the Virgin Mary as having conceived a child through the power of the Holy Spirit

(Listen to audio/video file 14, and see Example 5-24).

Verse 4

Phrase 1: Virgem Santa Aparecida, Holy Virgin of the Appeared pelo espírito vos concebeste you conceived by the spirit

Phrase 2: Verbo tomo-se carne The Word took flesh

por vosso amor Ele é o salvador for your love He is the savior

Example 5-24. A vocal tremble, scoop, and a recitative-like singing signify the mystery of Mary having conceived through the power of the Holy Spirit.

The second phrase (see text above) describes that the “Word of God” became flesh (Jesus) through the love of Mary, his mother. Luis communicates this by using a vocal tremble on the first syllable of the word ver-bo (Word); a vocal scoop on the first syllable of the word car-ne (flesh), vibrato on the words tomo-se (he took on), carne, amor, and Salvador, and a crescendo/decrescendo throughout the phrase (Listen to audio/video file 15, and see Example 5-25).

Example 5-25. A vocal tremble, scoop, vibrato, and a crescendo/decrescendo aid in communicating the mystery of the Incarnation.

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The two Marian songs Luis performed represent his attempts to communicate the

Marianisms of supplication and veneration. Both songs have an overall perceived somber character. This is not only true because each song occurs in the key of D minor, but also because of where Luis placed his dicent-indices (vocal tone, trembles and scoops). For instance, in his performance of Roberto Carlos’ song “O Terço,” he used vocal trembles on words like Senhora, agora, and perdidos (the lost ones). By placing trembles on these words, Luis emphasized supplication to the Virgin Mary in a sad, urgent tone that represents a desire for relief to come to those who are suffering and or are lost. He placed vocal scoops on the words terço, Deus, and nos to reinforce awareness that there is access to God through praying the rosary via Mary’s intercession. In his rendition of Paula Moreira’s “Virgem Santa Aparecida,” Luis used vocal trembles on words like santa (holy), Aparecida (appeared), imaculada (Immaculate), louvar (to praise), padoeira (patroness), and concebeste (conceived) to communicate a sense of mystery that surrounds the sacred, as well as that of veneration and supplication. The utilization of vocal scoops on words like conduzimos (guide us), caminhos (paths), passos (steps), and amparai

(help), conveyed Mary’s availability for guidance and help. People make supplication to Mary for mercy when they are having some difficulty in life due to misfortune, doing harm to others or to themselves. Approaching Mary with a humble, repentant attitude then is often interpreted musically with the use of a sad or melancholy (pleading) tone. Another mode of asking Mary for her intercession, or to honor her is through songs that occur in major modes. The discussion will now shift to performances of two such songs.

Leandro Sings to Mary

While walking around historic downtown Aprecida one evening, I came upon a choral concert that was going on inside the old basilica. The choir was singing the music of Sister Míria

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Kolling. I was only able to hear the end of the last piece performed; however, after the concert I met one of the singers, Leandro Evaristo Ferreira. Although Leandro and the choir were in a bit of a hurry to break down the equipment and go eat dinner, I did manage to ask him a couple of questions. Afterwards, he consented to sing a few Marian songs for me. I recorded his renditions of “Daí-nos a Benção” (“Give Us the Blessing”) and “Na Casa da Mãe Maria” (“In the House of

Mother Mary”), by Sister Kolling.

Leandro’s performance of the refrain to “Daí-nos a Benção” revealed the Marianistic trait of making supplication. The vocal tone Leandro used to convey this meaning consisted of a combination of both pleading and prayerful varieties. In addition, he also employed vibrato, an occasional vocal scoop, as well as various physical gestures, to communicate supplication. He began the first two phrases of the refrain (see text below) with a vocal scoop followed by some decoration on the imperative Daí-nos (give us). Then, he added vibrato to the second syllable of the noun bên-ção (blessing). As he sang the word bênção, Leandro closed his eyes, reopened them, while simultaneously turning his head to his right and back. Next, he added vibrato to the second and third syllables of the words que-ri-da (beloved), Se-nho-ra (“Lady”), and on the fourth and fifth syllables of A-pa-re-ci-da (Listen to Audio/video file 16, and see Example 5-26).

In addition, Leandro turned his head to the right and back as he sang each of these three words, indicating the love and affection that he and the Brazilian people have for the Virgin Mary, as well as affirming that both Mary and the shrine itself are holy.

Refrain

Phrase 1: Daí-nos a bênção, oh mãe querida Give us the blessing, oh dear Mother

Phrase 2: Nossa Senhora Aparecida Our Lady of the Appeared

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Example 5-26. A vocal scoop and several instances of vibrato signifying supplication and recognition of Mary as a sacred mother.

The overall vocal tone and physical gestures that Leandro used to convey supplication during the first and second phrases of the refrain were repeated during the third and fourth phrases (see text below). However, in addition to the vocal scoop on the first syllable of the imperative Daí-nos, he added a slight tremble to his voice (Listen to audio/video file 17, and see

Example 5-27).

Phrase 3: Daí-nos a bênção, oh mãe querida Give us the blessing, oh dear mother

Phrase 4: Nossa Senhora Aparecida Our Lady of Appeared

Example 5-27. The third and fourth refrain phrases, initiated with a vocal scoop and additional tremble to emphasize urgency behind the request being made.

Additionally, Leandro added a left-arm gesture, and the “Marian gaze” to reinforce this sentiment. For instance, while singing the word bênção, he raised his left arm up slightly and then down again, as a priest does when giving a blessing (see Figure 5-4).

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Figure 5-4. Leandro displaying the left-arm “blessing” gesture to reinforce the text literally.

A second gesture that Leandro utilized, the “Marian gaze” is the same one that Luis utilized in his performance of “O Terço,” and for the same purpose, acknowledging that the

Virgin Mary has a divine connection. Just prior to singing the words Nossa Senhora, at the end of the refrain, Leandro glanced upward toward the sky (see Figure 5-5).

Figure 5-5. Leandro demonstrating the “Marian Gaze”.

The second song Leandro sang was Sister Míria Kolling’s “Na Casa da Mãe Maria.” In his performance, the Marianism of supplication were communicated, as well as the Marian virtues of contemplation, and obedience. The vocal tone that Leandro employed throughout was somewhere between the prayerful and powerful varieties. His overall demeanor while he sang the first phrase of the refrain (see text below) was joyful. He displayed his affection for Mary by adding warm vibrato to the last syllable of her name, Ma-ri-a (see Example 5-28).

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Refrain

Phrase 1: Que alegria em tua casa entrar, Maria! What joy it is to enter into Mary’s

house!

Example 5-28. Vibrato used to convey affection for the Virgin.

Leandro continued to communicate a joyful, contemplative character while singing the second phrase of the refrain (Listen to Audio/video file 18, and, and see Example 5-29).

Phrase 2: Bater à porta do teu Coração de Mãe To knock at the door of your heart, Mother

Example 5-29. The beautiful metaphor of “knocking on the door of the Mother’s heart” marked with vibrato.

As he sang the words Bater à porta do teu coração de mãe (“to knock on the door of the

Mother’s heart”), Leandro placed his left hand over his own heart, telegraphing his affection for

Mary (see Figure 5-6).

Figure 5- 6. Leandro displays his love for Mary by placing his hand over his heart.

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Leandro made an urgent display of supplication during the last two phrases of the refrain

(see text below) by shifting his tone from calm and prayerful to a more animated one. In addition, he identified himself as a pilgrim by placing his right hand onto the center of his chest as he sang the words Romeiro eu sou (“I am a Pilgrim,” see Figure 5-7).

Phrase 3: Romeiro eu sou, venho pedir a tua bênção, I am a pilgrim, I come to ask for

your blessing,

Phrase 4: e suplicar: nos mostra a todos teu, Jesus! and to entreat you: show us all your,

Jesus!

Figure 5-7. Leandro identifying himself as a pilgrim.

Then while singing the words venho pedir (“I have come to ask”), he bent the pitch on the second syllable of the word pe-dir, and turned his head to the right and back. In so doing,

Leandro communicated the notion that asking the Virgin for a blessing is a human activity that is both natural and good (Listen to Audio/video file 19, and see Example 5-30).

Example 5-30. A pitch bend signifying the emotion behind asking Mary for a blessing.

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The most telling display of semiotic meaning however occurred when Leandro sang the first two phrases of the verse (see text below). While singing the words, Nós prometemos, he shifted his tone to a child-like, prayerful one (Listen to audio/video file 20), and raised his left arm up with his palm facing up. Then, as he sang the words sim, fazer tudo aquilo que Ele disser,

Leandro placed his left hand over his heart (see Figure 5-8).

Verse

Phrase 1: Nós prometemos, sim, fazer tudo aquilo We promise, yes, to do whatever

Phrase 2: que Ele disser, pra não faltar mais vinho… He says, to not lack for more

wine…

Figure 5-8. Leandro promises, with his left hand over his heart, to do whatever Jesus commands.

For the remainder of the verse, Leandro’s demeanor reflected the Marianism of empathy for the couple and wedding guests in this famous story from John’s Gospel (Jn 2, 1-11). Some physical gestures that support this include a more serious facial expression, tilting his head to the right, and raising his left arm up (see Figure 5-9). As he ended the phrase on the words mais vinho (more wine), Leandro raised his eyebrows, and gestured with his left hand, first toward and then away from himself (see Figure 10).

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Figure 5-9. A head tilt and left arm raised to a ninety degree angle signifying empathy.

Figure 5-10. Raised eyebrows, and a left arm gesture further expressing concern for others.

The last two phrases of the verse (see text below) summarize the message of the entire song, namely that pilgrims who come to Jesus through his mother can experience child-like joy while helping others. Leandro communicated this by incorporating vibrato on the word filial

(like a son or child), and the name Jesus. Additionally, he used various hand gestures, turned his head to one side and back, and changed facial expressions in an effort to further reiterate the message of obedience. As he ended the song, Leandro bowed reverently while singing the name

Jesus (see Figure 5-11).

Phrase 3: Com esperança e alegria filial, With hope and childlike joy,

Phrase 4: fiéis discípulos e missionários de Jesus! faithful disciples and

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missionaries of Jesus!

Figure 5-11. Leandro shows respect for the name Jesus with a reverent bow.

The combination of these above-mentioned vocal tones, techniques and physical gestures usages communicate hope to the listener by reinforcing the idea that blessings are real and obtainable, and that sung prayer is an effective form of asking the Virgin for help.

Up until now, the discussion has focused on expressions of devotion to Mary from the perspective of a single performer. The discussion will now turn to communal forms, beginning with Mary’s presence in the mass.

Mary and a Charismatic Healing Mass

Invoking Jesus’ healing power through the Trinity and Mary is an activity that often occurs during Charismatic healing masses. For Catholics of this variety, the Virgin Mary is significant to the healing process because it is believed that she can take her devotees’ request directly to her son. In June of 2015, I attended a healing mass at the parish of Nossa Senhora e

São Francisco (Our Lady and Saint Francis), in the Fernades neighborhood in Pouso Alegre.

Fr. Celso was celebrating. He, along with the choir, led the singing. The choir consisted of four singers (three men and one woman), two guitars, and a percussionist who played a wooden box.

They were located on the left hand side of the altar. Each singer had his or her own individual microphone. About midway through the mass, Fr. Celso paused and stated, “along with the

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assistance of the Holy Trinity, Mary will help us with our physical, psychological and spiritual problems.” Immediately after saying this, father led everyone in singing the first verse (see text below) of the song titled “Viva a Mãe de Deus e Nossa,” or “Long live the Mother of God, and

Our Mother” (see appendix for the score). As soon as the singing started, a Marian procession with the image of Nossa Senhora Aparecida began to make its way toward the altar.

Verse 1

Phrase 1: Aqui estão vossos devotos Here are your devotees

cheios de fé incendida full of faith on fire

Phrase 2: De conforto e esperança Of comfort and hope

O Senhora Aparecida The Lady Who Appeared

Fr. Celso’s prayerful vocal tone (hence, the choir’s and congregation’s as well) reflected the Marianism of veneration. As the image proceeded up the aisle, father continued leading the congregation in singing the first verse in a slow, reverent style. Although the text itself does not reflect a sad sentiment, the minor key, Father’s tone along with the image, did hint at the Virgin

Mary’s role as the suffering mother,11 something that many in attendance could sympathize with

(Listen to audio/video file 21). After completing the verse, father and the congregation repeated it, continuing to sing slowly and with the same vocal tone, but increasing in volume ever so slightly. As he sang the word incendida (afire), the guitars entered. When the procession reached the altar, the women participating (two young mothers, their daughters, and one middle-aged woman) turned around to face the congregation. Now, the verse ended and the

11 I submit that the role of Mary as the suffering mother functions as a coping mechanism for the suffering that the people experience, and that by singing and meditating on this, they find solace.

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woman holding the image of Nossa Senhora Aparecida held it up high in the air so that everyone could see. At this point, Fr. Celso led everyone in singing the refrain (see text below); only in a transformed, joyful version characterized by the use of a more powerful vocal tone, a modulation to the parallel major key of D major during the first phrase, and a tempo change that resembled a lively march (Listen to audio/vidoe file 22, and see Example 5-31).

Refrain

Phrase 1: Viva a mãe de Deus e nossa Long live the mother or God and ours

sem pecado concebida conceived without sin

Phrase 2: Viva a Virgem Imaculada Long live the Immaculate Virgin

a Senhora Aparecida The Lady who appeared

Example 5-31. The transformed refrain of “Viva a Mãe de Deus e Nossa” lifts people’s spirits.

Fr. Celso continued to emphasize veneration while repeating the first verse (see text above) in the original minor key, yet varied it by keeping the faster tempo, and singing with a more animated voice. At one point, he invited everyone to wave his or her hands back and forth, which most people did. As everyone sang the word esperança (hope), father turned toward the choir and indicated to them that he wanted to slow down the tempo. Next, while holding the note over the last syllable of the word (es-pe-ran-ça); he turned toward the image of Nossa Senhora and encouraged the people to clap and cheer. Fr. Celso ended the song by placing a ritardando on

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the last three words of the refrain (a Senhora Aparecida). Then, as everyone sang the last word

Aparecida, father shouted the phrase “Viva Nossa Senhora Aparecida!” (“Long live Our Lady of

Aparecida!”), to which everyone responded by shouting “Viva!” He followed this by shouting

“Viva a Padroeira do Brasil!” (“Long live the patroness of Brazil!”), to which everyone again responded, “Viva!” (Listen to audio/video file 23). The display of this popular Brazilian Marian icon, combined with the usage of a powerful, cheerful vocal tone, and quick tempo reflected this joy-filled moment in which all responded by applauding, a moment of communal resolution (see

Figure 5-12).

Example 5-12. Fr. Celso, motioning toward the image of Nossa Senhora Aparecida, dispenser of healing graces and cause for great joy

After a while, the loud cheering and clapping subsided, and a hush came over the room and Fr.

Celso led the congregation in praying one Ave Maria.

In addition to being a dispenser of healing graces from God, the Virgin Mary is a model of virtue. For this reason, many seek to dedicate their lives to her. The most powerful means to accomplish this is to make a consecration to Mary. In Brazil, the song most commonly associated with this life-changing devotion is titled Consagração a Nossa Senhora

(“Consecration to Our Lady”), commonly abbreviated as simply Consagração. Once a devotee has completed all the requirements for consecration, a ceremony is given for them during mass.

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Consecration to Mary at Mass

While attending mass at the parish of Nossa Senhora de Fátima in Pouso Alegre one

Saturday evening, I witnessed a Consecration ceremony for a group of young people. The short ritual occurred just prior to the end of the mass where the celebrating priest Fr. Adilson, had those who were completing their consecration to Mary come forward to stand in front of the statue of Our Lady of Fátima, which was located to the right of the altar. With the group in place, everyone began to sing the song “Consagração”12 (see text below).

Verse

Phrase 1: O minha Senhora e também minha mãe O my Lady and also my mother

Phrase 2: Eu me ofereço inteiramente todo a vós I offer myself entirely to you

Phrase 3: e em prova de minha devoção, and in proof of my devotion,

Phrase 4: Eu hoje vos dou meu coração Today I give you my heart.

Refrain

Phrase 1: Consagro a vós meus olhos I consecrate to you my eyes

meus ouvidos, minha boca my ears, my mouth

Phrase 2: Tudo o que sou desejo que a vos pertença All that I am, I hope that you are a part of

Phrase 3: Incomparável mãe guardai-me Incomparable mother guard me,

defendei-me defend me

Phrase 4: como filho e like a son, and

propriedade vossa. Amém. property of yours. Amen.

12 See appendix for the score.

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The Marianism displayed during this celebration was that of emulation. The vocal tone that the choir and congregation employed was of the prayerful variety. Their warm, child-like tones (Listen to audio/video file 24) signified affection for Mary, and admiration for the young people who were offering their lives to her. Accompanying the singing were physical gestures that supported their desire to emulate Mary. The two most common included raising both arms up to a ninety degree angle with palms facing upward (see Figure 5-13) and crossing both of hands over the heart. In this case, the first gesture indicated an invitation for God’s power to come down onto the young people to assist them, whereas the latter signified a desire to dedicate or re-dedicate one’s life to the causes of Mary.

Figure 5-13. Parishioners demonstrating the “inviting” gesture.

The most telling visual display of Marianism came from the gestures that the Eucharistic ministers were using. These men and women had their arms in an extended outward position during most of the singing. However, when the song concluded with the words vossa, amém

(“yours, amen”) they moved their arms to an inward position and then crossed both hands over their hearts (see Figure 5-14), communicating a visual reinforcement of the meaning behind the text, a heart- felt conviction that their lives belonged to Mary.

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Figure 5-14. Both hands crossed over the heart, a visual sign of total devotion to Mary.

The presence of Mary at mass is not limited only to churches, but with permission may also be celebrated in people’s private homes.

A Mission Mass at Monica’s House

I attended a missa da missão at the home of Mônica Fernandes, a well-known member of the Catholic community in Pouso Alegre who graciously offered her house as a location for the celebration. As mentioned earlier in Chapter 4, just prior to the conclusion of mass Fr. Adilson

(see Figure 5-15) had everyone sing what they considered the three most popular Marian songs for my benefit, “Mãezinha do céu,”13 “Maria de Nazaré,”14 and “Daí-nos a benção.”15 Of the three performances their rendition of “Maria de Nazaré” was the most remarkable because the people seemed to favor it over the other two. In fact, Fr. Adilson corroborated this idea when he prefaced the singing by stating “and now, let us sing the song [to Mary] that we most love...”16

13 See appendix for the score.

14 See appendix.

15 See appendix

16 Father Adilson prefaced each song with a qualifying statement. For example, before the first song, “Mãezinha do ceu,” he stated “Let’s sing the song that we all learned as children.” For the third song, “Daí-nos a benção,” he said, “Now let’s sing the song that is most blessed.”

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Figure 5-15. Fr. Adilson and hostess Mônica Fernandes.

The employment of a powerful vocal tone emphasized the behaviors of contemplation and veneration. As Fr. Adilson sang the opening words to “Maria de Nazaré” (see below), everyone joined in the singing with much enthusiasm. When father heard the people singing with such love and conviction, he smiled from ear to ear in approval. As the words Menina que Deus amou e escolheu were sung, during the repeat of the second section of verse one (see text below),

Verse 1

Phrase 1: Maria de Nazaré, Maria me cativou Mary of Nazareth, Mary, you have

captured me

Phrase 2: Fez mais forte a minha fé made my faith stronger

E por filho me adotou and adopted me as your son the people sang even louder and with greater emotion (Listen to audio/video file 25). At this point, Monica’s face became flushed and contorted as she began crying uncontrollably. The experience of signing these words with everyone else struck such a personal and emotional chord with Mônica that she could not conceal her reaction. On seeing her crying, a nearby woman put

Repeat of the second section of verse1

Phrase 1: Menina que Deus amou e escolheu Young girl whom God loved and chose

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Phrase 2: Pra mãe de Jesus, o Filho de Deus for the Mother of Jesus, Son of God

Phrase 3: Maria que o povo inteiro elegeu Mary, who all people have chosen

Phrase 4: Senhora e Mãe do Céu Lady and mother from heaven. her arm around her as a show of support. This sympathetic/Marian gesture helped Monica to stop crying; however, she could not continue singing. Instead, she bowed her head and remained in silent contemplation until the song finished (see Figure 5-16).

Figure 5-16. Singing to Mary oftentimes provokes an emotional response.

This display of powerful singing and deep-seated emotion is an illustration of just how much real love and affection the people have for the mother of Jesus. A second venue for communal display of Marianism is the weekly group prayer meeting. The discussion now turns to this variety of devotional expression.

A Charismatic Prayer Meeting and the Virgin Mary

In addition to being sung at mass, the song “Consagração” is often sung at weekly prayer group meetings. While attending a charismatic prayer meeting at the Casa De Formação de

Nossa Senhora Auxiliadora (The Formation House of Our Lady of Help), I observed members expressing the Marianisms of veneration, emulation and supplication while singing this song.

The dicent-indices displayed that supported these included the use of both prayerful and powerful vocal tones with new or varied forms of the afore-mentioned physical gestures. During

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the verse, the people sang with a prayerful tone (Listen to audio/video file 26) while facing a statue of Mary holding the baby Jesus. The majority of them had their arms extended out in front of them with palms facing up. The most notable physical gestures however occurred while singing the refrain. For example, while singing the first phrase with the words Consagro a vós

(“I consecrate to you”) meus olhos (my eyes), meus ouvidos (my ears), and minha boca (my mouth), the people correspondingly touched their eyes, ears and mouth respectively; communicating the Marianisms of supplication and emulation (see Figure 5-17).

Figure 5-17. Prayer group members gesturing to the text.

Also, when singing the second phrase, beginning with the word tudo (“all”), they raised their arms up above their heads, and then quickly lowered them in front of themselves in a covering gesture. Then, as everyone sang the words, o que sou (“that I am”), they brought their arms up to the iconic nintey degree angle with palms facing up in a self-offering gesture.

In addition to the types of physical gestures mentioned above, was a gentle, rhythmically synchronized rocking back and forth motion to the beat that most were participating in. This subtle movement, along with the meaning of the text continued to convey the Marianism of supplication. The prayer group members employed this motion while singing phrases three and four of the refrain to the text Incomparável mãe guardai-me, defendei-me (“Incomparable mother guard me, defend me”), and como filho propiedade vossa, amém (“like a son, and

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property of yours, Amen”). This synchronized body motion, coupled with a prayerful vocal tone, portrays a person being rocked in Mary’s arms (or a mother rocking her child in her arms), reinforcing the notion that Mary is not only Jesus’ mother, but is also everyone else’s mother as well.17

Conclussion

Throughout the case studies I have linked dicent-indices to the performance of Marian devotional songs to explain southern Mineiran faith and religious identity. While analyzing the performances of various Marian songs by both individuals and mixed groups I have discovered that certain vocal tones, techniques and physical gestures are rich in communicating religious truths and meaning. The three varieties of vocal tones, the prayerful, pleading, and powerful, immediately set the stage for the type of Marianism that is being communicated. The reader may recall that when singers use a prayerful tone, the message being conveyed is that of calm supplication. Contrasting to this is the use of a pleading tone which indicates an urgent, emotional plea; whereas the powerful vocal tone is utilized for making strong statements of faith.

In addition, vocal techniques like vibrato, scoops, trembles, pitch bends, falls, and descending slides bring emotion to performances by emphasizing various key words or phrases. The same can be said for the types of physical gestures that were displayed during both individual and mixed-group performances.

My analysis of the performances of Fr. Celso, Luis Scofield, and Leandro Ferreira revealed an emphasis on communicating supplication, urgency, and veneration. Catholic priests

17 According to the Brazilian priest Clodovis Boff, the concept of Mary as a Universal mother occurs in what he calls a religious-ethnic message, from part three of Mary’s Magnificat. In this portion of the canticle, Mary, although a Jewish daughter in origin, is positioned at the center of the history of salvation, between Israel and the Church. She is a universal mother without excluding people because of their race.

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like Fr. Celso are gifted in communicating God’s love through Marian song to the people. He imparts Marian doctrine, virtues, and roles through his singing voice and physical gestures. His repertory of vocal tones and gestures reflects some of those used by his mother, other singing priests, church choir members, professional performers like Roberto Carlos, and by the people themselves. So, there is a common repertory of these sonic and gestural indices that has been formulated over time, and is shared by the population. Fr. Celso’s application of a predominantly prayerful vocal tone accompanied by gestures and various facial expressions during his performance of Roberto Carlos’ “Nossa Senhora” reiterated Mary as someone that can be approached without fear and trusted as a protector, similar to how a child can approach and trust his or her own mother.

Luis Scofield is a musician who has dedicated a good portion of his time and energy to providing music for the masses at the Metropolitan Cathedral of Bom Jesus. His constant musical presence (singing and guitar playing), alongside fellow choir members, is an example of faithful ministry to the Church, and therefore carries some weight of credibility and character. Like Fr.

Celso, both amateur and professional singers have influenced Luis’ repertory of vocal tones, techniques and gestures. Through his use of familiar dicent-indices like pleading and powerful vocal tones, vibrato, scoops, trembles, pitch bends, pitch drops, and descending slides; by turning his head to one side and back, and by employing the “Marian gaze” during his performance of

Roberto Carlos’ “O Terço,” Luis conveyed Mary’s availability as an intercessor to his listeners.

During his rendition of Geraldo de Paula Moreira’s “Virgem Santa Aparecida,” he communicated (through similar dicent-indices) Mary as someone deserving of veneration, and as someone who is also available for guidance, protection, and hope, no matter how downtrodden or lost an individual may be.

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Singer Leandro Ferreira enjoys performing sacred music, especially Marian songs. He has a powerful voice and good stage presence that indicates he has had some formal musical training and years of performing experience. For all of these reasons, as well as his love for

Mary, he comes across to his listeners as an effective, sincere messenger. Leandro’s display of dicent-indices during his performance of “Daí-nos a benção” communicated the Marianism of supplication, where he portrayed Mary as a holy, loving, and approachable mother by using some of the same dicent-indices as Luis had, namely the use of the prayerful and powerful vocal tones, vibrato, trembles, and the “Marian gaze.” However, he added a new, left arm “blessing” gesture to relay the principal message of the song, to ask Mary for a blessing. During his rendition of “Na Casa da Mãe Maria,” Leandro imparted the Marian virtues of contemplation, and obedience as well as the Marianisms of supplication and empathy. Again, Leandro employed many of the same dicent-indices as did Luis; however, he varied his vocal tone types more often, added a pitch bend, and new gestures like placing his left or right hand over his heart, raising his eyebrows and varying his facial expressions in an effort to further affirm and/or reinforce people’s belief system through shared communicative experiences.

Analysis of group performances has revealed that the Marianisms of veneration, supplication, contemplation and emulation were conveyed to those in attendance. During the charismatic healing mass for example, veneration was portrayed twice while everyone sang the song “Viva a mãe de Deus e nossa.” In the first instance, Fr. Celso, the choir and congregation sang the first verse18 using soft, prayerful vocal tones at a slow tempo and in the minor mode.

The second occurrence happened during the transformed refrain where the tone changed from a

18 The reader may recall that the subject of verse one describes the devotees as being present, full of faith and assurance that Mary will bring them comfort and hope.

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prayerful to a powerful one, the mode changed from minor to major, the tempo quickened, and everyone began clapping to the beat.

The communication of the Marianism of emulation was revealed during the consecration ceremony in the mass at the parish of Nossa Senhora de Fátima. The congregation, led by the choir, sang the songs “Consagração” with an affectionate, prayerful, child-like vocal tone that set the stage for this Marianistic desire. There were essentially only two gestures employed to convey emulation, the arm raise to a ninety degree angle, and both hands crossed over the heart.

Each of these functioned however, as a visual display that interpreted the text in a literal manner.

The Marianism of contemplation was communicated during a performance of the song

“Maria de Nazaré” at the mission mass that was held at Monica’s house. Contemplation of Mary, her significance and roles, was transmitted through the use of a powerful, enthusiastic vocal tone.

The effectiveness of this emotionally charged group singing combined with the evocation of deep, personal feelings and/or memories eventually caused the hostess to break down and cry, a type of catharsis (energetic enterpretant).

As was the case in the Charismatic healing mass, the Marianistic characteristic of veneration was also communicated at the charismatic prayer meeting; however a different song was performed, and an additional Marianistic behavior, supplication, was also conveyed.

Veneration was transmitted while the prayer group members sang the song “Consagração a

Nossa Senhora.” To accomplish this they used a prayerful tone and extended both arms out in front with the palms facing up while facing a statue of the Virgin Mary and Child. The most notable Marianisms displayed however, were those of emulation and supplication which occurred during the singing of the refrain. The reader may recall that during the first phrase, the group members touched their own eyes, ears, and mouth as each corresponding part was

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mentioned in the text, asking Mary to consecrate each (a type of emulation/supplication).

Additionally, during the third and fourth phrases, supplication was communicated by employing both a “covering” gesture, and synchronized rocking motion.

The performances analyzed above indicate that the usage of dicent-indices not only assist in portraying the images found in the text, but also embody Catholic expression. The dicent- indices are recognized by the people and serve as a confirmation of their understanding of the

Virgin Mary’s motherly role in their lives. Like a mother, Mary is always there to protect, guide, and defend her children. In the majority of cases, the dicent-indices used during performances communicated the act of making supplication, a most frequent occupation for devotees. This chapter has addressed the manner in which Marianisms were explained through semiotic displays during performances. In the next chapter, I will summarize my findings that support my thesis that singing Marian songs aids in transforming people’s lives in and around southern Minas

Gerais.

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CHAPTER 6 SUMMARY AND CONCLUSION THE TRANSFORMING POWER OF MARIAN DEVOTIONAL SONGS

The music pulls at all hearts; the people sing and pray because of the many graces that they know they can receive.

̵ ̵ ̵ Fr. Celso, Father Celso Antonio Lélis Diogo

The content of this last chapter will apply the results of my analysis to my argument that

Marian songs have the power to aid in transforming people’s lives. To all those who have a devotion to the Virgin Mary, she is considered blessed among women, a protector against evil, an advocate for sinners, and a dispenser of God’s blessings, graces, and healing. In the Bible, the angel Gabriele first blessed Mary when he announced to her that she was to be the mother of the

Redeemer. Her cousin Elizabeth also blessed Mary for carrying the Savior in her womb. In response to Elizabeth’s blessing, Mary cried out in joy the Magnicat in which she exalted God’s power, justice, and mercy. In addition, because of her faithfulness to God, Mary was given the honor of being blessed by all future generations.

The most important role that Mary has is that of a mother. The Blessed Mother is not only the Mother of Jesus; she is also a universal mother. Mary’s virtues of purity, humility, obedience, patience, and mercy qualify her for this role. She is a model for all mothers because she listens to her children’s requests and acts on them, and does not favor anyone because of his or her race, religion, or social status. Furthermore, Mary’s role as a universal mother brings a sense of sacredness to human mothers. For this reason, people have a profound respect for mothers who, like Mary, bring life into the world, nuture, and safeguard their children.

The Virgin Mary has power to conquer the devil. As a mother, she fights evil in order to protect her children. Mary, who along with her son has the power to conquer Satan and all evil spirits, is often portrayed in art standing on a serpent (see Ruben’s “Immaculate Conception from

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chapter 2). Mary is also an advocate with the power to save those who have fallen from grace. As a universal mother, she intercedes on behalf of a devotee before her son Jesus who will do whatever she asks because he can never refuse her.

Mary is a dispenser of God’s blessings, graces, and healing. A blessing is a gift from God that shows his generosity and favor. Blessings often occur in the form of protection from sickness, hunger, and danger. Mary bestows God’s blessings on those who ask in order that they may live a happy and fulfilled life. Grace is divine assistance given to a person in order to strengthen them both physically and spiritually. Because of her purity and obedience to God’s will, Mary was given the power to give people the graces in order to strengthen them to overcome any temptations that may cause them to veer off the path that leads them back to God.

Healing is a type of grace that restores and/or makes a person well again. The Virgin Mary has access to Jesus’ healing power, and for this reason, people ask her to help restore them to health of mind, body, and spirit.

Devotees sing-pray1 songs to Mary for blessings in the form of protection from sickness, hunger and danger. They ask Mary to bless and protect them, their family members, or anyone who is suffering in the community. Through my research, I discovered three songs that express the sentiment of requesting a blessing. These include “Daí-nos a bênção,” “O Terço,” and

“Virgem Santa Aparecida.”

The title of the first song, “Daí-nos a bênção,” literally translates to “Give us a blessing.”

This request, mostly for protection, is sung-prayed twice during the refrain, along with a statement of affection for the Lady who appeared (see chapter 3). In addition to the literal

1 Sing-pray is my term, which means to pray through song. This is essentially how people sing sacred music, in the context of a liturgy, in private, or communal devotion, but not necessarily in concert.

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meaning of the text are the dicent-indices that Leandro Ferreira employed during his performance that reinforced the Marianistic trait of making supplication. The vocal dicent- indices he used to convey this included beginning the refrain with a vocal scoop (on the word

Daí-nos), using an overall prayerful vocal tone, and adding warm vibrato to words like querida

(beloved), and Senhora (Lady). The physical gestures Leandro employed to communicate a desire for blessings include turning his head to the right and back (“truth” gesture), closing and reopening his eyes, raising up his left arm (“blessing” gesture), and the “Marian gaze.”

The second song titled “O Terço,” is Roberto Carlos’ sung-narative of someone praying the rosary, and like “Daí-nos a bênção” emphasizes the Marianism of petitioning the Virgin

Mary for blessings in the form of guidance (to Jesus and to become more like Jesus). Singer Luis

Scofield communicated this in his performance by employing a wide variety of vocal techniques like trembles, vibrato, scoops, descending slides, and pitch falls. He did not use as many gestures as did Leandro because he was accompanying himself on the guitar. Luis did however utilize the head turn to the right and back, and the “Marian gaze” for the same purpose as did Leandro, to indicate that he was communicating the truth and that Mary is with her son in heaven respectively.

Luis’ performance of Geraldo de Paula Moreira’s “Virgem Santa Aparecida” also emphasized petitioning Mary for a blessing (as both text and performance of the refrain indicate), but included a second Marianisitic trait, veneration (see verse one). He used the same vocal techniques as he had in his performance of “O Terço” to communicate both; however, employed them more often. For example, Luis used eight vocal scoops and seven vocal trembles throughout the course of his performance. His use of vocal trembles communicated reverence, and was applied to words like santa (holy) and imaculada (immaculate). Luis employed vocal

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scoops for a variety of reasons which included asking Mary for guidance (conduzi, nossos caminhos), venerating her (louvada sois pela Trindade), and to convey Mary’s love for everyone, and all people’s love and affection for her (nos bendizemos vosso amor por nós). In addition, he included a half- sung, half-spoken phrase to signify the mystery surrounding the

Virgin birth (see Figure 5-27, Chapter 5).

Those who have a devotion to the Virgin Mary sing-pray to her in order to receive graces that strengthen them (against evil or sickness) for their spiritual journeys through life. Roberto

Carlos’ song titled Nossa Senhora embodies the Marianstic behavior of asking Mary for God’s grace in the form of guidance and shelter. In his rendition of the refrain, Fr. Celso used both a prayerful and pleading vocal tone to convey these Marianisms. Accompanying his singing were several gestures that he used to emphasize a devotee’s wish to be sheltered, guided, and protected. These gestures included raising his right arm up (“inviting” gesture), placing one or both hands over his heart, closing and reopening both eyes, and smiling (signifying deep prayer and assurance respectively).

In addition to making supplication to Mary through song, singer-devotee Leandro

Ferreira reinforced Saint Louis de Montford’s idea of “seeking Jesus through honoring his mother” (a consecration) while performing Sister Kolling’s song “Na Casa da Mãe Maria.” He accomplished this by using a mostly prayerful vocal tone throughout, while employing vibrato to the name Maria, and on the words Mãe and bênção. The physical gestures he used to venerate

Mary included placing his hand over his heart, and identifying himself as a pilgrim by pointing to his chest. Leandro also referenced Mary’s compassion toward others by tilting his head to the right, and raising his left arm up as he sang the phrase Ele disser, pra não faltar mais vinho, which translates to “He [Jesus] says, to not lack for more wine.” All of these dicent-indices

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communicated his love and affection toward Mary, as well as his happiness in knowing that by emulating her he is being obedient to her son.

The Virgin Mary is a dispenser of healing power. A healing, a type of grace, restores something from a bad state to a good one, and can occur in a physical, mental or spiritual form. Healings can result in a complete restoration to health, alleviate both physical and mental pain, or fix a broken relationship. When diagnosed with a serious physical illness for example, all Catholics (and sometimes non-Catholics) will take advantage of an opportunity to receive a healing via the Virgin Mary whether they have a devotion to her or not. In some cases when traditional medical treatments have been exhausted, people turn to Mary to make them well again. Devotees of the mother of Jesus however are aware that she does indeed have access to her son’s divine healing power, and will dispense it to those who ask. Although the eight songs analyzed above may not be categorized as healing songs, each can assist in the process because they bring Mary’s consoling presence and overall message of hope to people who are or know someone who is suffering. The song that accompanies the devotion to Mãe, Rainha de

Schoenstatt, titled Mãe Perigina2 (Pilgrim Mother) however, is a healing song because the emphasis is on returning health to those who are sick; hence Mary’s functional role in this particular devotion as Mãe Rainha, Visitadora dos Enfermos (Queen Mother, Visitor of the

Sick).

The refrain text of the song Mãe Perigina (see below) portrays Mary as a pilgrim mother whose visit illuminates the minds and hearts of the host family by bringing the warmth of her son

Jesus to their home. In so doing, an atmosphere conducive to healing is created.

Refrain

2 See appendix for the entire score.

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Mãe Admirável, ó Mãe Peregrina, Admirable Mother, O Pilgrim Mother,

a tua visita aquece, ilumina, your visit warms, illuminates

pois trazes contigo teu Filho Jesus, because you bring with you your son

Jesus,

que é vida, caminho, verdade e luz. [who] is the life, way, truth, and light.

The sentiment of a universal mother who brings love and peace to all people who ask for healing continues in the text of verse one (see below). Here, Mary is seen as a mother who hurries to

Verse 1

Por nossa Judéia, ó Mãe,com carinho, For our Judea, O Mother, with love

tu vens apressada, estás a caminho. you come hurrying; you are on the way,

e onde tu chegas, a paz faz morada, and where you arrive, peace abides,

as portas te abrimos em cada chegada You open the doors for us upon each arrival.

open the doors of peace to those who call upon her. Most significant however, is the message conveyed in the text of the second verse (see below). Here, the idea of becoming a better person, a transformed version, is promised to those who rely on Mary for shelter, and who emulate her virtues.

Verse 2

De teu Santuário, tu vens, Peregrina, From your sanctuary, you come,

Pilgrim Mother,

a graça trazendo, que lá se origina. brining grace, that from there arises.

Ao dar-nos abrigo, transformas pro bem, By giving us shelter, [you] transform

us for the better.

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nosso apostolado abençoas também You bless our apostolate as well.

The concept of healing, and the possibility of being healed, is one that exists in all

Christian denominations. Within the Catholic Church, participation in healing services or masses is not as apparent in the traditional worshiping community as it is in the charismatic one. This is not to say that traditional Catholics do not believe in the power of healing, but tend to be more reserved in expressing it. Traditional Catholics do participate in healing rituals, but not as often as do their charismatic counter-parts. Charismatic Catholics participate in healing rituals at prayer meetings and/or masses because, according to Csordas3, they consider the processes of both healing and spiritual growth as inseparably linked, and that illness is regarded as an obstacle to spiritual growth. Healing therefore is considered necessary for all persons in the process of spiritual growth, and spiritual growth is in turn conducive to good health.

The purpose of the charismatic healing mass at the parish of Nossa Senhora e São

Francisco in Pouso Alegre was to bring healing (body, mind and spirit) to those who were physically ill, depressed, or suffering some type of imbalance in their lives. The healing power of

Jesus was especially made present during the Marian procession, which occurred during the mass. As the image of Nossa Sehnora Aparecida was carried in procession, the congregation sang the Marian song titled “Viva a mãe de Deus e Nossa.” Fr. Celso led the singing of the first verse in a quiet, reverent fashion as the image made its way toward the altar. The singing of the first phrase (see text below) functioned as a double presentation; that of the Virgin Mary to everyone gathered, and of everyone gathered to the Virgin Mary. Next, Mary’s role as a dispenser of healing was referenced as everyone sang the second phrase (see below).

3 Thomas J. Csordas, Elements of Charismatic Persuasion and Healing, Medical Anthropology Quarterly, New Series, Vol. 2, No. 2 (Jun., 1988), pp. 123.

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Verse 1

Phrase 1: Aqui estão vossos devotos Here are your devotees

cheios de fé incendida full of faith on fire

Phrase 2: De conforto e esperança Of comfort and hope

O Senhora Aparecida The Lady Who Appeared

The effectiveness of Fr. Celso’s invoking Mary’s (and the Holy Spirit’s) healing power was revealed during his rendition of the refrain where he transformed the character of the music from a somewhat somber one to a hopeful, joy-filled moment. He, and the guitarists accomplished this by modulating to the parallel major mode (D Major), and by increasing the tempo (see Chapter 5). The combination of the image of Mary, along with the song text and vocal tone all contributed to an extremely positive atmosphere (conducive to healing), which to the people was not imagined, but real.

A most desired activity for both Catholics and non-Catholics alike around the world is to make a pilgrimage to one of the major Marian shrines to ask for a healing. The most famous of all Marian shrines for healing is Lourdes, France. In the year 1858, the Blessed Virgin Mary appeared to a peasant girl named Bernadette Soubirous. Mary identified herself to Bernadette as the “Immaculate Conception.” Since then, millions of infirmed people descend on the apparition site with the hope of being cured of whatever malady they may have. Indeed, numerous public records serve as proof that many people were cured while praying, doing penance, singing to the

Virgin, and bathing in the healing waters at Lourdes.

A second Marian shrine associated with an apparition (appearance) of the Virgin Mary and healings is that of Fátima, a town located in central Portugal. In the year 1917, Mary appeared to three poor shepherd children. Her message to them was to pray the rosary and make

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sacrifices so that people would repent of their sins in order for there to be peace in the world. The most famous contemporary miracle story involving Our Lady of Fátima is that of the former pope, Saint Pope John Paul II who credits Mary under this title with diverting the direction of an assassin’s bullet during an attempt on his life in 1981 in Rome, Italy.

As was mentioned earlier, the largest Marian shrine in all of Latin America is the Basilica of the National Shrine of Our Lady Aparecida. The shrine is located in the city of Aparecida do

Norte in the northern part of the state of São Paulo, Brazil. The Virgin Mary did not appear here as she had in Lourdes, Fátima, or on the Hill of Tepeyac in Mexico. Rather, three fishermen recovered a statue of her image (as the Immaculate Conception) while fishing in the Paraíba river. They attributed Mary with a successful catch after recognizing and praying to her image.

One of the fishermen took the image to his home and placed it atop a homemade altar. People began coming to his home to pray before Mary’s image. Soon afterwards, larger chapels had to be built in order to accommodate the throngs of people who came from all over the colony to pray before the image known as Nossa Senhora Aparecida. Today, there are two basilicas in

Aparecida, the old basilica, constructed during the latter part of the nineteenth century, and the new, which was completed sometime during the decade of the 1980s. Millions of pilgrims from all of Brazil (and the world) make an annual pilgrimage to the National Shrine either to pray for a miracle, or to give thanks for those that they or their loved ones have received. Like Lourdes and Fátima, many recorded healings have taken place at this Brazilian “House of the Mother”.

To the Catholic people of southern Minas Gerais and the immediate surrounding area,

Marian songs are like devotional love songs. These songs describe a loving, universal mother whose greatest desire is to take care of all of her children; hence, for her devotees Mary is the maternal face of God. Both individual and communal performances of Marian songs transmit a

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message of God’s unbounding love. The people recognize this through the signs that they interpret during performances. The semiotic displays function as a means of effectively communicating Mary as a person to emulate, a pathway to her son, and trusted guide to heaven.

The power to create the desire to become more like Mary is not only prevalent in the semiotics, but is also present in the music itself, especially within the chord progressions. I now offer a brief analysis of how a particular chord progression can enhance or co-create Marianistic contemplation and reaction. By no means is the following an exhaustive survey, and therefore I encourage more research in this area. For demonstrating common harmonic progressions that affect a considerable amount of emotion, I have chosen two songs for a comparative analysis, Fr.

Zézinho’s “Maria de Nazaré” (Mary of Nazaeth), and Sister Míria Kolling’s “Na Casa da Mãe

Maria” (In the House of Mother Mary). The chord progression that occurred in the repeat of the second section in the former aided in producing the most emotional reaction (crying), whereas the chord changes found in the third phrase of the verse of the latter helped express a pure, child- like happiness.

In each of the two songs, the subdominant and borrowed minor subdominant chords appear in succession at significant, communicative points in the text. In both cases, the subdominant/minor subdominant pairing (IV – iv) is prepared by its secondary dominant

(V7/IV). The resulting parallel harmonic sonority produces a powerful “heart-string tugging” effect. The most visible display of emotion (energetic interpretant) witnessed by the author during the group performance of “Maria de Nazaré” occurred while the people sang the first phrase of the repeated second section with the following text:

Second Section (repeat)

Phrase 1: Menina que Deus amou e escolheu Young girl whom God loved and chose

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The chord progression that supports this phrase is as follows:

Bm7 E7 A Am E

Menina que Deus amou e escolheu, pra mãe de Jesus, o Filho de Deus

E: v7 - V7/IV - IV - iv - I //

Here, the composer (Fr. Zézinho) temporarily emphasizes the subdominant in both major and minor forms. The use of the secondary dominant chord on the words amou (loved), subdominant on escolheu (chose), and the borrowed minor subdominant on the phrase Mãe de

Jesus (Mother of Jesus) work well together to help produce a powerful display of convicted emotion.

The harmonic progression that underpins the third phrase of the verse (see below) in

Sister Míria Kolling’s song titled “Na Casa da Mãe Maria” also includes the paired subdominant/minor subdominant chords (IV - iv) prepared by its secondary dominant (V7/IV).

In this case, however, the progression functions to aid in the production of the sentiment of an innocent, child-like joy.

Phrase 3 of the verse

Com esperança e alegria filial,… With hope and childlike joy,…

The chord progression that supports this sentiment follows:

F7 Bb Bbm Am

Com esperança e alegria filial,

(F): V7/IV - IV - iv - iii – //

(G: ii - ) //

When comparing the usage of this chord progression in both songs, and how it helps produce emotion and meaning, an interesting commonality is revealed. In each song, the subdominant/minor subdominant chords, prepared by the secondary dominant (V7/IV – IV - iv),

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were employed to produce a warm, loving sonic impression that helps illustrate an intimate, familial relationship (one through contemplation, the other through hope respectively) between

Mary and her devotees as well as between the devotees themselves.

Marian songs are often linked to her images, which also inspire devotion. The most common image of Mary for Brazilians is Nossa Senhora Aparecida. This small image of Mary, as the Immacualte Conception, is a spiritual icon for the people. Millions of pilgrims from every part of Brazil come to the National Shrine in Aparecida do Norte each year to go before Mary’s image to ask her for a favor, fulfill a promise, or give thanks for blessings received. Being in the presence of her image alongside fellow pilgrims (Catholics and non-Catholics alike) who demonstrate their faith openly with prayers, penitential acts, singing, and tears is a powerful and unforgetable experience. The emotions displayed by the pilgrims at the National Shrine run the full gamut, from that of sorrow and repentance to complete happiness and joy. The entire experience causes people to pause and reevaluate their own life journey. Being in the presence of the Virgin Mary at the shrine with fellow pilgrims has the potential to produce a change in each person’s attitude toward others. It causes people to begin to look outside of themselves and begin to recognize that there is something bigger than they are.

Singing Marian songs has the potential to shape people’s behavior, and persists to this day in spite of an ever-changing world that seems to deemphasize faith in God. The messages communicated during the act of singing inspire people to Marianistic attitudes and behaviors

(Marianisms), which often translate into a desire to make a difference in the world. It is while singing songs to Mary then that people are reminded of the need to become better human beings, and with this desire, the transformation process begins.

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APPENDIX A GLOSSARY OF TERMS

Apostolate A society or sodality of persons having as their object the propagation of a

method or rule of faith, life, or conduct.

Apparition (Lat., presence) is the name reserved for certain kinds of supernatural

vision, namely, those that are bodily or visible, and is often used for the

manifestation of the Mother of Jesus.

Auto sacramental Spanish auto-de- fe or Portuguese auto-da-fé.; a play with a religious or

moral subject that often included music.

Basilica a church building that has been accorded special privileges by the pope;

there are two types: Major and minor. There are four Major basilicas in

Rome: St. John Lateran, St. Peter, St. Paul Outside the Walls, and St.

Mary Major. A minor basilica is one that meets certain criteria, and is

usually named because of their antiquity, dignity, historical value,

architectural and artistic worth, and/or significance as centers of worship.

Canticle a sacred song whose words are taken from the Bible. Those in use at the

Divine Office are the three evangelical canticles, the Benedictus,

Magnificat and Nunc dimitittis, sung daily at , Vespers and

Compline respectively.

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Catechism Literally, instruction in Christian doctrine by means of question and

answer. The “Catechism of the Council of Trent”, published in 1566, is a

manual of Christian instruction for the use of the clergy. Today’s

Catechism of the Catholic Church is a book that codifies the tenets of the

faith and moral beliefs of the Church.

Cathedral (Church) The church of a diocese in which the bishop has his permanent episcopal

throne.

Charismatic Renewal A renewal movement within the Catholic Church that stresses the

charisms of the Holy Spirit (speaking in tongues, interpretation of tongues,

prophesy, healings, etc.) with a Pentecostal style type of worship

experience.

Compline The last hour of the Divine Office; Night prayer.

Cult Act of paying reverential homage to a divine being or person that is

expressed in a group of like-minded believers.

Dicent – index a sign type (from Piecian semiotics) that is interpreted as real, true, and

natural.

Diocese The territory governed by the bishop. A diocese must be divided into

parishes and deaneries.

Divine Office The daily service of prayer, , and hymns that all priests, monks,

nuns, and religious are obliged to recite. The services occur during the

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morning, daytime, evening and nighttime. It is also known as the ‘Liturgy

of the Hours.’

Doctrine That which is taught. Christian doctrine means that body of revealed and

defined truth which a Catholic is bound to hold, but is often extended to

include those teachings which are not of faith but are generally held and

acted upon.

Dogma a truth directly proposed by the Church for our belief as an article of

divine revelation.

Faith The object of belief; the sum of the truths taught by the Catholic Church.

Lauds The Divine Office that occurs at dawn.

Litany A form of prayer consisting of alternate brief invocations and petitions in

two parts, spoken or sung antiphonally between priest, deacon, cantors

and people.

Liturgical Worship the public use of an act of worship of Almighty God, in a form laid down

by the Church. In the Western Church this liturgy is called the mass.

Marian Congress a gathering of Catholics in general public conferences.

Mariology The study of the Blessed Virgin Mary and the body of theology, history,

speculation, concerning her; particularly her relationship with the

Incarnation and Redemption.

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Novena A prayer for a special object or occasion extended over a period of nine

days. It can be prayed in common in church but is often private.

Piety reverence and obedience to God.

Popular Devotion dedication to the Virgin Mary or one of the saints through prayers, music,

and rituals; although part of Catholic beliefs, are not always sanctioned by

the Church.

Purification The Feast of the Purification of Our Lady commemorates Mary’s ritual

purification in the Temple after childbirth, according to the Jewish law.

Relic a piece of the body of a saint, or part of their clothing, especially that of a

martyr.

Ritual any repeated and formalized behavior involving two or more persons in

communication who utilize icons, symbols, gestures, word, actions that

have meaning, are organized in a specific manner, are considered

appropriate in a given context, and serve to condense and circulate

complex cultural values among the participants engaged in common

activity (Dr. Robin Wright, University of Florida).

Vespers The evening hour of the Divine Office that is sung daily between 3 and

6 pm.

Votive a visible gift of thanks given to the Virgin Mary for her intercession

(Turner). They can take the form of trophies for victories in sporting

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events, dolls and pictures of family members, musical instruments,

musical CD’s, clothing, or even plastic replicas of limbs that were healed.

Veneration honor given to the saints (dulia) or the Virgin Mary (hyperdulia), either

directly or through images or relics, which differs from divine worship

that is given only to God (latria).

Virtue a habit or power that enables a person to perform an action with facility

and competence; to act in accordance with right reason in dealings with

God, others, and him or herself.

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APPENDIX B MUSICAL SCORES

Figure B-1.score

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Figure B-2. score

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Figure B-3.score

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Figure B-4.score

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Figure B-5.score

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Figure B-6.score

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Figure B-7.score

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Figure B-8.score

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Figure B-9.score

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Figure B-10.score

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Figure B-11.score

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Figure B-12.score

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Figure B-13.score

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Figure B-14.score

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Figure B-15.score

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Figure B-16.score

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APPENDIX C AUDIO/VIDEO FILES

Object C-1. Case study audio files

1. File 1, Fr. Celso sings the refrain to “Nossa Senhora”

2. File 2, Luis sings verse 1, phrase one of “O'Terço”

3. File 3, Luis sings verse 2, phrase one of “O'Terço”

4. File 4, Luis sings the Refrain to “O'Terço”

5. File 5, Luis repeats the Refrain (“O'Terço”)

6. File 6, Luis sings verse 4, phrase one (“O'Terço”)

7. File 7, Luis sings verse 1, phrase one of “Virgem Santa Aparecida”

8. File 8, Luis sings phrase one of the refrain to “Virgem Santa Aparecida”

9. File 9, Luis sings phrase two of the refrain (“Virgem Santa Aparecida”)

10. File 10, Luis sings phrase one of verse 2 (“Virgem Santa Aparecida”)

11. File 11 Luis sings phrase two of verse 2 (“Virgem Santa Aparecida”)

12. File 12, Luis sings phrase one of verse 3 (“Virgem Santa Aparecida”)

13. File 13, Luis sings the phrase two of verse 3 (“Virgem Santa Aparecida”)

14. File 14, Luis sings phrase one of verse four (“Virgem Santa Aparecida”)

15. File 15, Luis sings phrase two of verse four (“Virgem Santa Aparecida”)

16. File 16, Leandro sings the refrain, phrases one and two of “Daí-nos a bênção”

17. File 17, Leandro sings the third and fourth phrases of the refrain to “Daí-nos a

bênção”

18. File 18, Leandro sings the first and second phrases of the refrain to “Na Casa da

Mãe Maria”

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19. File 19, Leandro sings phrases three and four of the refrain to “Na Casa da Mãe

Maria”

20. File 20, Leandro sings phrases one and two of the verse to “Na Casa da Mãe

Maria”

21. File 21, Fr. Celso and congregation sing verse one of “Viva a Mãe de Deus e

nossa”

22. File 22, Fr. Celso and congregation sing the transformed version of the refrain to

“Viva a Mãe de Deus e nossa”

23. File 23, Fr. Celso leads a dramatic ending to “Viva a Mãe de Deus e nossa”

24. File 24, the Vigil mass congregation at the parish of Nossa Senhora de Fátima

sings the song Consagração

25. File 25, the gathered community at Monica Fernandes’ house sings the repeated

second section, verse one of “Maria de Nazaré”

26. File 26, the gathered members of the prayer group at the Casa De Formação de

Nossa Senhora Auxiliadora sing Consagração

27. File 27, Luis sings “O'Terço,” complete.

28. File 28, Luis sings “Virgem Santa Aparecida,” complete

29. File 29, Leandro sings “Na Casa da Mãe Maria,” complete

30. File 30, Fr. Adilson and community at Monica Fernandes’ house sing “Maria de

Nazaré,” complete

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APPENDIX D MARIAN DEVOTIONAL IMAGES

Figure D-1. Nossa Senhora Aparecida (Our Lady who Appeared)

Figure D-2. Nossa Senhora de Fátima (Our Lady of Fatima)

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Figure D-3. Mãe peregrina de Schoenstatt (Pilgrim Mother of Schoenstatt)

Figure D-4. Nossa Senhora do Carmo (Our Lady of Carmel)

Figure D-5. Nossa Senhora do Perpétuo Socorro (Our Lady of Perpetual Help)

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APPENDIX E MARIAN DEVOTIONAL AIDS

Figure E-1. The Rosary (O Terço)

Figure E-2. The Brown Scapular (O Escapulário Marrom)

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Figure E-3. The Miraculous Medal (A medalha milagrosa)

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BIOGRAPHICAL SKETCH

Scott Smolenski was born in Trenton, New Jersey in 1961. The eldest of four children, he grew up in various states before his family settled in Clearwater, Florida. Scott graduated from

Clearwater Central Catholic High School in 1980. He earned a B.A. in music composition from the University of South Flordia in 1987, an M.M. in music theory from the University of South

Florida (1993), and a M.M. in compostion from the Florida State University in 1997.

Scott has composed a Sonata for Trumpet, Chamber Symphony for Strings, Theme and

Variations for Wind Ensemble, one Mass Setting, a setting of Psalms 22 and 95, three Marian pieces for choir (Gabriele’s Song, Our Lady of la Leche, and Faithful Choirs, Rejoicing Sing!), as well as various liturgical music and solo piano pieces. Scott’s performance expeience includes singing for the Jacaré ensemble and as a participant in the Brazilian Music Institute at the

University of Florida. In addition, he directs/accompanies a chuch choir, and teaches piano to children privately.

He began his ethnological fieldwork in Pouso Alegre during the month of June 2013.

Scott and his wife traveled to Brazil during the month of June for three consecutive years (2013-

2015) to perform research on Marian devotional music in southern Minas Gerais.

Scott and his wife, Filomena, and their three children, Luis, Gabby, and Suelen, reside in

Gainesville, Florida. Currently, Scott is an adjunct professor in Music at Santa Fe College in

Gainesville, and is choir director at St. Madeleine Catholic Church in High Springs, Florida.

Upon completion of his Ph.D, he will continue to persue a career in teaching, liturgical music, and ethnomusicological research.

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