| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 189.87 MB | Adobe PDF | |||
| 15.18 MB | Adobe PDF | |||
| 14.24 MB | Adobe PDF |
Advisor(s)
Abstract(s)
Com este trabalho pretende-se contribuir para o conhecimento da musica sacra em
Lisboa na primeira metade do século XVIII, a partir do estudo da música de João Rodrigues
Esteves (ca.1701-1752), compositor que terá desempenhado um papel relevante no contexto
musical dessa época.
Para isso procedeu-se ao levantamento, estudo e análise das fontes musicais
preservadas em diversos arquivos, tendo como objetivo central a elaboração de uma edição
crítica da vasta quantidade de obras que chegaram até aos nossos dias. Procedeu-se também
ao enquadramento litúrgico das fontes musicais, ao estudo dos diversos géneros litúrgicos e à
sua inserção no contexto ritual das celebrações estipuladas no calendário litúrgico.
No sentido de fornecer um quadro compreensivo das diversas tipologias estilísticas e
composicionais do total das obras do compositor procedeu-se ao seu estudo e análise musical.
Foram assim estudadas todas as obras tendo sido possível enquadrá-las em quatro
estilos composicionais - stile concertato, stile pieno, stile antico e stile alla moderna. Estes
estilos estão contemplados nalguns dos tratados publicados por teóricos contemporâneos de
João Rodrigues Esteves cuja leitura ajudou a definir, sistematizar e agrupar em tipologias
estilísticas o conjunto vasto de obras do compositor. Evidenciou-se deste modo a coexistência
de todos estes estilos e práticas composicionais deste período, dependendo a sua escolha de
fatores diversos, como a importância litúrgica de festas ou solenidades ou dos efetivos vocais
disponíveis.
Para além do estudo e análise musical e litúrgica foi também efetuado um estudo
biográfico de João Rodrigues Esteves, que veio a revelar novos dados sobre a sua vida,
possibilitando uma melhor compreensão do percurso do compositor da “Santa Igreja
Patriarcal” e “mestre do seu Seminario".
This study intends to contribute to the knowledge about the sacred music in Lisbon during the first half of the XVIII century through the study of the music of João Rodrigues Esteves (ca. 1701- 1752), a relevant composer in the musical context of that time. To that purpose, a survey, study and analysis of the still remaining musical sources of different archives were carried out allowing the development of a critical edition of the vast work preserved up to our days. Additionally, a liturgical frame for the musical sources was provided, the different liturgical genres were studied and adequately inserted into the ritual context of the celebrations according to the liturgical calendar. This composer’s work was studied and analysed in order to provide a comprehensive framework of the various stylistic and compositional types. Thus, all the works were studied, finally allowing the inclusion into four compositional types - stile concertato, stile pieno, stile antico e stile alla moderna. These styles are referred to in some treaties published by contemporary theorists of João Rodrigues Esteves. This helped to define, to systematize, and to group this composer’s vast work into stylistic styles. The coexistence of all the styles and compositional practices of this period was highlighted, depending on several factors, such us the importance of liturgical celebrations or ceremonies or on the number and nature of the singers available. In addition to the musical and liturgical analyses, a biographical study of João Rodrigues Esteves was also performed. This study revealed new data on his life, enabling a better understanding of the composer of the “Santa Igreja Patriarcal” and “mestre do seu Seminario”.
This study intends to contribute to the knowledge about the sacred music in Lisbon during the first half of the XVIII century through the study of the music of João Rodrigues Esteves (ca. 1701- 1752), a relevant composer in the musical context of that time. To that purpose, a survey, study and analysis of the still remaining musical sources of different archives were carried out allowing the development of a critical edition of the vast work preserved up to our days. Additionally, a liturgical frame for the musical sources was provided, the different liturgical genres were studied and adequately inserted into the ritual context of the celebrations according to the liturgical calendar. This composer’s work was studied and analysed in order to provide a comprehensive framework of the various stylistic and compositional types. Thus, all the works were studied, finally allowing the inclusion into four compositional types - stile concertato, stile pieno, stile antico e stile alla moderna. These styles are referred to in some treaties published by contemporary theorists of João Rodrigues Esteves. This helped to define, to systematize, and to group this composer’s vast work into stylistic styles. The coexistence of all the styles and compositional practices of this period was highlighted, depending on several factors, such us the importance of liturgical celebrations or ceremonies or on the number and nature of the singers available. In addition to the musical and liturgical analyses, a biographical study of João Rodrigues Esteves was also performed. This study revealed new data on his life, enabling a better understanding of the composer of the “Santa Igreja Patriarcal” and “mestre do seu Seminario”.