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O Adufe Contexto Histórico E Musicológico

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O Adufe Contexto Histórico E Musicológico UNIVERSIDADE DO ALGARVE Faculdade de Ciências Humanas e Sociais e Campo Arqueológico de Mértola O Adufe Contexto Histórico e Musicológico Ana Carina Marques Dias Mestrado em Portugal Islâmico e o Mediterrâneo Área de História FARO 2011 UNIVERSIDADE DO ALGARVE Faculdade de Ciências Humanas e Sociais e Campo Arqueológico de Mértola O Adufe Contexto Histórico e Musicológico Ana Carina Marques Dias Dissertação Orientada por Prof. Dr. Cláudio Torres 2011 AGRADECIMENTOS Ao longo destes três anos de recolha de informação, foram muitas as pessoas e instituições que contribuíram com a sua ajuda e que gostaríamos aqui de agradecer. O orientador Prof. Cláudio Torres, pela partilha de conhecimento e interesse na temática, a Prof. Susana Martinez e o Prof. Luís Oliveira pela ajuda teórica e estruturante da dissertação e formação. À Universidade do Algarve e ao Campo arqueológico de Mértola e a sua Biblioteca de onde se destacam Filipa Medeiros e Armanda Salgado. Aos professores que ao longo da componente lectiva contribuíram com a partilha da informação sobre as temáticas abordadas no presente estudo: Santiago Macías, Maria Filomena Barros, Manuela Barros, Maria Cardeira da Silva, Christoph Picard e Juan Aurelio Macías. Gostaria de agradecer igualmente a inter-ajuda entre colegas de formação destacando Ana Azevedo, Ana Paula Penedo, Luís Maçarico, Pedro Carlos, Rolando Rosa e Sandra Cavaco. Exteriores ao núcleo formativo gostaríamos de destacar, pertencendo às diversas áreas: Carlos Pedro Alves pela grande motivação e partilha de informação essencial para este projecto; Mauricio Molina pela grande ajuda e partilha de conhecimento; Rosário Álvarez Martinez; Judith Cohen; João Soeiro de Carvalho; Luzia Rocha; Manuel Pedro Ferreira; Luís Correia de Sousa; Paulo Fernandes; Celina da Piedade; Baltazar Molina; Eduardo Ramos; Eva Parmenter; Timoteo Rivera Gimenez; Helena Miranda do Museu da Música; Catarina Roquette do Museu da Música Portuguesa; Sandra Silva e Paulo Maximino do Museu Nacional de Etnologia; Beatriz Serrão do CESEM; José Luis Hernando Garrido do Museo Etnográfico de Castilla-León e por último a Belén Sáenz- Chas Díaz do Museo do Pobo Galego. A empresa não seria possível sem a grande ajuda e apoio familiar, que inclui afortunadamente o apoio técnico informático e tecnológico, assim, com grandíssimo destaque agradecemos a Eduardo Taborda, Madalena Taborda e aos seus avós, por toda a paciência e entusiasmo que depositaram na mestranda. v RESUMO O Adufe é um bimembranofone de forma quadrada, associado às tradições folclóricas da zona interior fronteiriça de Portugal, principalmente a Beira Baixa, onde hoje, em Idanha-a-Nova encontrou o estatuto de símbolo do Município. As suas origens perdem- se no tempo havendo representações de possíveis exemplares na Antiguidade pré- Clássica na Mesopotâmia, até chegar à Península Ibérica, possivelmente, no início da Idade Média, assumindo ser um instrumento de uso erudito, mas principalmente popular, feminino e transversal a domínios políticos ou religiosos. Os processos culturais a que a região interior de Portugal, esteve sujeita, fizeram com que se desse uma cristalização de algumas tradições medievais no interior do país, onde se insere o uso do adufe, partilhando com a vizinha Espanha a mancha de distribuição raiana, somando-se as regiões da Galiza, Astúrias e Catalunha. A presente dissertação pretende contextualizar estes processos segundo um ponto de vista Ibérico abordando áreas como a História política-social, Etnomusicologia, Etnologia, Musicologia e Geografia. Palavras chave: Adufe, pandeiro, bimembranofone vii ABSTRACT The adufe is a squared double-parched frame drum, commonly related to the folklore traditions of the Portuguese interior border zone. Beira-Baixa is the main region where it can be found, and Idanha-a-Nova made it its symbol. The origins of this instrument are very ancient, and the iconographic testimonies show us that its first appearance happened in the pre-Classic Antiquity of Mesopotamia, reaching the Iberian Peninsula around early Middle Ages, where it could be found both on the popular and court instrumentarium. It was used mainly by women, regardless of their political or religious order. The cultural processes that the interior border-region of Portugal was subjected to, made the adufe become one of the frozen cultural elements, that remained unchanged from the Middle Ages to the current day, sharing the distribution map of its use with its neighbour Spain, along the border field, plus the Galician, Asturian an Catalonian regions. This dissertation intends to get a contextual notion of the several cultural processes that the instrument has been subjected to through the ages in the Iberian Peninsula, crossing subjects like political and social History, Ethnomusicology, Ethnology, Musicology and Geography. Keywords: Adufe, frame drum, double-parched-hand-drum ix ÍNDICE AGRADECIMENTOS...................................................................................................... v RESUMO........................................................................................................................ vii ABSTRACT..................................................................................................................... ix ÍNDICE.............................................................................................................................xi INTRODUÇÃO.................................................................................................................1 IDENTIFICAÇÃO DO INSTRUMENTO MUSICAL..................................................... 3 BREVE ESTADO DAS ARTES....................................................................................... 5 1. A HISTÓRIA DA MÚSICA.............................................................................................................5 2. A ICONOGRAFIA MUSICAL........................................................................................................6 3. A ETNOMUSICOLOGIA................................................................................................................9 4. HISTÓRIA POLÍTICO-SOCIAL E GEOGRAFIA......................................................................12 HISTÓRIA E CONTEXTO.............................................................................................15 1. ANTIGUIDADE. DA SUMÉRIA À IBÉRIA............................................................................... 15 1.1. Antiguidade Pré-Clássica................................................................................ 16 1.1.1. Alguns testemunhos no passado.............................................................. 16 1.2. Antiguidade Tardia.......................................................................................... 19 1.2.1. Breve contexto histórico religioso...........................................................19 1.2.2. O pandeiro, possível origem....................................................................21 1.2.3. Vestígios da música secular Ibérica.........................................................23 2. IDADE MÉDIA PENINSULAR. DOIS CONTEXTOS DE UMA MESMA IDENTIDADE.....23 2.1. Contexto musicológico Islâmico.....................................................................24 2.1.1. As três idades da música do Al-Ândalus.................................................24 2.1.2. O tocador................................................................................................. 31 2.1.3. O Duff e o Bandayr................................................................................. 37 2.2. Contexto musicológico Cristão....................................................................... 43 2.2.1. Orientalismo cristão. O outro em si mesmo............................................ 43 2.2.2. O tocador................................................................................................. 52 2.2.3. Adufe e pandeiro......................................................................................57 2.2.3.1. Textos. O que é adufe e o que é pandeiro........................................61 2.2.3.2. A Iconografia....................................................................................63 3. IDADE MODERNA. APOGEU, EXPANSÃO E ESQUECIMENTO......................................... 68 3.1. Contexto Musicológico Ibérico (séc. XVI – XVIII).......................................68 3.1.1. O estilo mourisco.....................................................................................70 3.1.2. O tocador................................................................................................. 74 3.1.3. Pandeiros e Adufes.................................................................................. 76 xi 3.1.3.1. Os textos.......................................................................................... 76 3.1.3.2. A Iconografia....................................................................................85 3.1.4. A diáspora nos Novos Mundos................................................................87 3.2. Séc. XIX..........................................................................................................90 4. SÉCULO XX. A PROCURA.........................................................................................................91 4.1. Contexto Musicológico popular......................................................................92 4.1.1. A Ruralidade...........................................................................................
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