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Advisor(s)
Abstract(s)
Manuel Faria foi um compositor e padre português que viveu entre 1916 e 1983. Depois de terminar os seus estudos no Seminário de Braga e de realizar uma pós-graduação em Itália, no Pontificio Instituto di Musica Sacra, regressa ao Seminário como professor de música e começa a procurar introduzir mudanças importantes na produção de música sacra portuguesa. Incomodado pelo deterioramento da qualidade musical litúrgica decorrente da introdução dos preceitos do Concílio Vaticano II no país, Manuel Faria agiu em várias frentes de modo a travar esse declínio: escreveu em jornais, discursou e pregou sobre o assunto; fundou a Nova Revista de Música Sacra criando um fórum de divulgação, encontro e discussão entre eclesiásticos e leigos sobre a música sacra; compôs e harmonizou muita música que ensinou aos vários coros com que trabalhou e que ainda hoje é muito cantada em Portugal.
Para além de música sacra, Manuel Faria foi também compondo música de outros géneros musicais, deixando um conjunto de vinte e três canções para canto e piano. O trabalho de análise interpretativa de cada uma das canções, realizado à luz do enquadramento biográfico do compositor, revela os traços mais característicos da linguagem musical de Manuel Faria. Na obra para canto e piano, ganha destaque a retórica musical, pois é no encontro entre o texto e a música que Manuel Faria encontra a sua voz, pondo a música (erudita) sempre ao serviço do texto (popular).
O objetivo desta dissertação é trazer a público estas canções e estimular o estudo da música portuguesa, neste caso de Manuel Faria, um homem cuja herança musical merece grande reconhecimento.
Manuel Faria was a Portuguese composer and priest who lived between 1916 and 1983. After finishing his studies at Braga’s Seminar and doing a post-graduation in Italy at Pontificio Instituto di Musica Sacra, he returned to the Seminar as a music teacher and he started trying to make some changes over the composing methods of Portuguese Sacred Music. Troubled by the deterioration of the quality of liturgical music due to the introduction of the precepts of Vatican II Council in the country, Manuel Faria acted on several fronts so that he could stop this decline. He wrote in newspapers and spoke and preached on the subject. He also founded Nova Revista de Música Sacra, creating a forum where clergy and laity could meet and discuss their ideas on Portuguese sacred music and also publicise some new scores of this kind of music. He composed and harmonized a lot of music that then he taught to the various choirs he used to work with and that is still heard today in Portuguese churches. Manuel Faria also wrote in other genres, leaving a set of twenty-three songs for solo voice and piano. The work of interpretative analysis of each song, done in the light of the composer’s biographical framework, reveals the most characteristic features of Manuel Faria’s musical language. In the work for voice and piano the musical rhetoric quality is highlighted since it is in the encounter between the text and music that Manuel Faria finds its voice. This thesis aims to bring to light these songs and encourage the study of Portuguese music, here represented by Manuel Faria, a man whose musical heritage deserves great recognition.
Manuel Faria was a Portuguese composer and priest who lived between 1916 and 1983. After finishing his studies at Braga’s Seminar and doing a post-graduation in Italy at Pontificio Instituto di Musica Sacra, he returned to the Seminar as a music teacher and he started trying to make some changes over the composing methods of Portuguese Sacred Music. Troubled by the deterioration of the quality of liturgical music due to the introduction of the precepts of Vatican II Council in the country, Manuel Faria acted on several fronts so that he could stop this decline. He wrote in newspapers and spoke and preached on the subject. He also founded Nova Revista de Música Sacra, creating a forum where clergy and laity could meet and discuss their ideas on Portuguese sacred music and also publicise some new scores of this kind of music. He composed and harmonized a lot of music that then he taught to the various choirs he used to work with and that is still heard today in Portuguese churches. Manuel Faria also wrote in other genres, leaving a set of twenty-three songs for solo voice and piano. The work of interpretative analysis of each song, done in the light of the composer’s biographical framework, reveals the most characteristic features of Manuel Faria’s musical language. In the work for voice and piano the musical rhetoric quality is highlighted since it is in the encounter between the text and music that Manuel Faria finds its voice. This thesis aims to bring to light these songs and encourage the study of Portuguese music, here represented by Manuel Faria, a man whose musical heritage deserves great recognition.
Description
Keywords
Manuel Faria Obra completa para canto e piano Séc. XX Música portuguesa Canções Performance musical Manuscritos Complete work for solo voice and piano XXth century Portuguese music Songs Musical performance Manuscripts