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Resumo(s)
Este estudo insere-se numa linha de pesquisa que procura caracterizar os usos estéticos da memória religiosa na cultura contemporânea. A obra musical «Magnificat, ou a insubmissa voz» de João Madureira (2014) é o objeto de estudo, duplamente contextualizado: no quadro do programa expositivo em que a obra se integra, e no confronto com outras leituras exegéticas do texto protocristão. O estudo mostra que o compositor privilegia a semântica política do texto. O trabalho composicional segue a via de uma universalização da mensagem, desvinculada do habitat comunitário, ritual e orante, que caracteriza a sua vivência religiosa. Nesta operação, o compositor torna-se, no entanto, agente – com autonomia – de um processo de transmissão cultural de uma memória religiosa.
This study is part of research topic that seeks to characterize the aesthetic uses of religious memory in contemporary culture. The object of the study is the musical work "Magnificat, or the non-submissive voice" by Joao Madureira (2014), doubly contextualized: within the framework of an exposed program in which the work is integrated, and in the confrontation with other exegetical readings of the proto-Christian text. The study shows that the composer privileges the political semantics of the text. Compositional work follows the path of a universalization of the message, unrelated to the communitarian, ritual and prayerful habitat that characterizes their religious experience. In this operation, the composer becomes, nevertheless, agent - with autonomy - of a process of cultural transmission of a religious memory.
This study is part of research topic that seeks to characterize the aesthetic uses of religious memory in contemporary culture. The object of the study is the musical work "Magnificat, or the non-submissive voice" by Joao Madureira (2014), doubly contextualized: within the framework of an exposed program in which the work is integrated, and in the confrontation with other exegetical readings of the proto-Christian text. The study shows that the composer privileges the political semantics of the text. Compositional work follows the path of a universalization of the message, unrelated to the communitarian, ritual and prayerful habitat that characterizes their religious experience. In this operation, the composer becomes, nevertheless, agent - with autonomy - of a process of cultural transmission of a religious memory.
Descrição
Palavras-chave
Memória religiosa Estética musical Transmissão cultural Religious memory Musical aesthetics Cultural transmission