Videos by André Gaby
Conference in Santiago de Compostela
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This is an presentation of the homonymous paper published in 2020. The abstract is:0
This work... more This is an presentation of the homonymous paper published in 2020. The abstract is:0
This work proceeds to a comparative analysis of the plainchant Asperges me extracted from the chant book published for use at the Mercedarian Convent of Pará in 1780. The purpose of the comparison, and therefore of the work, is to identify the probable origin of this chant’s melody, starting from the investigation of many chant books that may served as a source for this compilation: Mercedarians, Tridentines (roman or portuguese), or dominicans books. The conclusion contributes to the hypothesis that this chant book can be considered an example of “romanization” of the Mercedarian rite in Amazonia of the 18th century. 5 views
Articles by André Gaby
Mirabilia Journal 33 (2021/2). Música en la Antigüedad, la Edad Media y el Renacimiento,, 2021
The humanism and the musical renaissance derived from it are both the result of Italian thinkers ... more The humanism and the musical renaissance derived from it are both the result of Italian thinkers contact with the Neoplatonic and Hermes Trimegistus works – coming from Byzantium thanks to the fall of Constantinople in 1453 – and with Kabbalistic works brought by Jews definitively expelled from Spain. in 1492. Among so many names in Italian humanist thought, stands out in Venice the Franciscan friar Francesco Zorzi (Giorgi). He learned the Hebrew language and the teachings of Kabbalah, dedicating his intellectual efforts to the continuation of the synthesis work of ideas on spiritual elevation (Platonic, Aristotelian, Neoplatonic, Hermetic, Jewish, or Christian) initiated by Marsilio Ficino and Pico della Mirandola. Zorzi believed that Kabbalah could prove the truths of the faith of Christianity present in the Bible, that is, the numbers generated by the letters of the Hebrew alphabet would be related to the Pythagorean “Harmony of the Spheres” conception, and the truths of the cosmos reality would be described in the scriptures enterlines of Judeo-Christian religious tradition. Our work consists of presenting to the Portuguese language community the esoteric-kabbalist musical conception present in the work Harmonia mundi totius by Francesco Zorzi, together with some extract’s translation into Portuguese.
Arqueologia Musical Amazônica, 2018
O presente artigo tem como objetivo apresentar algumas novas fontes primárias relaciona- das com ... more O presente artigo tem como objetivo apresentar algumas novas fontes primárias relaciona- das com a prática musical mercedária no Pará no intuito de enriquecer o debate sobre a presença religiosa missionária na Amazônia. Os documentos foram coletados em 2015 na
Península Ibérica, nas bibliotecas Nacional de Espanha (Madrid) e Nacional de Portugal (Lis- boa), da Torre do Tombo (Lisboa), além dos arquivos Histórico Ultramarino (Lisboa) e da Coroa de Aragão (Barcelona).
eHumanista/IVITRA, 2019
An analysis of both the concept of courtly love present in the eight cançons (songs) of the Catal... more An analysis of both the concept of courtly love present in the eight cançons (songs) of the Catalan troubadour Berenguer de Palou (c. 1160-1209) as of their formal melodic structure. In addition, we also translated the cançons from Old Provençal to Portuguese and an extract form the Book of Contemplation in ancient Catalan (1271-1273) where the Philosopher Ramon Lull (1232-1316) critically describes the social environment of the Jograis (the art of juggling). Along with that, we analyzed Palou’s melodies from their transcription to modern notation from the Troubadour Melodies Database. These texts are yet neither translated or published in Portuguese.
Papers by André Gaby
XXX Congresso da Anppom, Dec 19, 2020
XXX Congresso da Anppom, Dec 19, 2020
XVIII Congreso Latinoamericano de Filosofía Medieval - Respondiendo a los Retos del siglo XXI desde la Filosofía Medieval, 2021
A investigação paleográfica de melodias medievais é sempre um desafio musical. A cansó abordada n... more A investigação paleográfica de melodias medievais é sempre um desafio musical. A cansó abordada neste trabalho –Ab la fresca clardat apresenta um desses desafios musicológicos: três investigadores de música medieval –Higino Anglés, Friedrich Gennrich e Hendrik van der Werf– propuseram, cada um, para a mesma cansó, uma cadência final diferente. Embora cada versão provoque uma mudança apenas nas cinco últimas notas, as consequências modais e estéticas são notáveis. Este trabalho tem o intuito de expor cada uma das propostas de reconstrução melódica mencionadas para, em seguida, analisar os resultados estéticos obtidos em cada uma delas.
Anais do XXX Congresso da Associação de Pesquisa e Pós-graduação em Música, 2020
This work proceeds to a comparative analysis of the plainchant Asperges me extracted from the cha... more This work proceeds to a comparative analysis of the plainchant Asperges me extracted from the chant book published for use at the Mercedarian Convent of Pará in 1780. The purpose of the comparison, and therefore of the work, is to identify the probable origin of this chant’s melody, starting from the investigation of many chant books that may served as a source for this compilation: Mercedarians, Tridentines (roman or portuguese), or dominicans books. The conclusion contributes to the hypothesis that this chant book can be considered an example of “romanization” of the Mercedarian rite in Amazonia of the 18th century.
XXIX Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música, 2019
Resumo: Este trabalho tem o objetivo de expor o estado da arte da pesquisa sobre o Ritual Mercedá... more Resumo: Este trabalho tem o objetivo de expor o estado da arte da pesquisa sobre o Ritual Mercedário publicado em Portugal, em 1780, para uso dos frades paraenses. O documento foi apresentado pela primeira vez em 1995 pelo pesquisador Vicente Salles, que o adquiriu de um alfarrabista em Lisboa. Em 2015 a pesquisa foi retomada e outras fontes primárias encontradas em acervos da Espanha e Portugal; tais documentos foram apresentados em um capítulo do livro Arqueologia Musical Amazônica, prestes a ser publicado. Palavras-chave: Cantochão. Música colonial brasileira. Mercedários. Pará.
The João da Veiga's Mercedarian Ritual and the Liturgical-Musical Practice of the Mercedarians from the Convent of Pará: State of Art. Abstract: This work aims to expose the state of art of the research about the Mercedarian Ritual published in Portugal, in 1780, for use by the Friars of Pará. The document was first presented in 1995 by the researcher Vicente Salles, who acquired it from an antiquarian book dealer in Lisbon. In 2015 the research was resumed and others primaries sources were found in collections from Spain and Portugal; such documents was presented in a chapter of the book Amazonian Musical Archeology, about to be published.
V SIMPÓSIO INTERNACIONAL DE MÚSICA DA AMAZÔNIA, 2016
Resumo: Este trabalho objetiva apresentar os resultados obtidos pela pesquisa sobre o cantochão d... more Resumo: Este trabalho objetiva apresentar os resultados obtidos pela pesquisa sobre o cantochão dos Mercedários do Pará acerca da obra de frei João da Veiga, uma das figuras-chave da história dos religiosos na Amazônia Colonial. Exímio músico e cantochanista, o frade mercedário ainda é uma lacuna histórica em grande parte dos documentos que contam a história eclesiástica no Grão-Pará. Parte dos poucos argumentos que atestam vida e obra deste religioso e de sua ordem estão em alguns extratos da revista Analecta Mercedária e na transcrição de uma carta datada do século XVIII (fruto do plano de trabalho paleográfico e filológico dos arquivos das Mercês) que, aqui, contribuirão com nossa investigação e levantamento de informações acerca desta importante personalidade: frei João da Veiga, cujo legado, registrado principalmente no Ritual Mercedário que compilou, atravessa os séculos da música paraense. Palavras-chave: Cantochão. Mercedários. João da Veiga. Paleografia. Abstract: This work presents the findings obtained from a research into the history of plainchant of the Pará Mercedarians and, in specific, about friar João da Veiga. Veiga was a key figure in the religious history of Colonial Amazon. Accomplished musician and " plainchantist " , the mercedarian friar represents a historical gap in the documentation of ecclesiastical history of Grão-Pará. A portion of the evidence attesting to the life and work of this religious figure and his order is found in excerpts from the magazine Analecta Mercedaria, and the transcription of a letter from the eighteenth century (fruit of paleographic and philological archival work conducted in the Archives of Mercês). Both documents contribute to the present research and documentation into the life of this important personality, friar João da Veiga, whose legacy, mainly registered in Mercedarian Ritual compiled by him, through the centuries of Pará music.
This paper aims to propose to the Brazilian universities a scientificcultural
debate, very import... more This paper aims to propose to the Brazilian universities a scientificcultural
debate, very important to the musicology in the world: the study of a
gregorian musical performance through the gregorian palaeography and
semiology. Since the iniciatives of Dom Guéranger, a Solesmes monk, in
1822, the abbey has been responsible of a renewal and return to the origins of
this monodical tradition, basilar to understanding the Western Music.
Launching an example of an interpretative proposal, based on gregorian
semiology studies, insert us in this process of renew, specially in Brazil, that
has suffered a very strong influence from the European culture.
Presentations in events by André Gaby
III Congreso Internacional "Música e Estudos Americanos", 2021
Este trabalho é um recorte da tese de doutorado em desenvolvimento cujo título provisório é “O ri... more Este trabalho é um recorte da tese de doutorado em desenvolvimento cujo título provisório é “O ritual mercedário de Frei João da Veiga e sua prática litúrgico-musical: uma narrativa histórica, paleográfica e hermenêutico-interpretativa”. O objetivo geral da investigação doutoral é compreender por que e de que modo o frei comendador do Convento do Pará entre os anos de 1777 e 1782, João da Veiga Tenório, compilou um cantoral em dois volumes para uso naquele convento, visto que já existiam publicações mercedárias homônimas anteriores (1701, 1770), impressas na Espanha. A hipótese levantada ao longo da investigação é de que os mercedários do Pará estavam passando por uma reforma que incluía a romanização da sua liturgia, e portanto, de seu repertório de cantochão.
Embora as investigações apontem para a adaptação das melodias para aquelas presentes nos livros tridentinos, em especial o Theatro Ecclesiastico de Frei Domingos do Rosário, os dois volumes de cantorais paraenses apresentam repertórios para cerimônias de santos mercedários que não faziam parte do martirológio romano, e cujo repertório, portanto, não é encontrado em livros tridentinos. Tudo indica que tais melodias podem ter origem espanhola, pois estão presentes nos cantorais mercedários ali impressos.
Other by André Gaby
Mirabilia Journal 33 (2021/2). Música en la Antigüedad, la Edad Media y el Renacimiento, 2021
Thesis Chapters by André Gaby
Em matéria publicada no jornal “A Província do Pará” de 18 de outubro de 1992, o historiador, ant... more Em matéria publicada no jornal “A Província do Pará” de 18 de outubro de 1992, o historiador, antropólogo e folclorista paraense, Vicente Salles, anunciava sua mais recente aquisição: um livro com título em latim, impresso para ser usado no Convento das Mercês de Belém do Pará. O pesquisador o batizou de “antifonário de João da Veiga” – nome do comendador do convento, impresso na folha de rosto do livro. Entre seus achados, era um dos volumes pelo qual devotava mais zelo e interesse, por ter certeza que era um dos mais raros. Apoiando-se na opinião do musicólogo Clavier Filho, defendia que o livro “ressalta a importância do cantochão ibérico na construção do folclore musical amazônico”. Em sua tese de doutorado, Paulo Castagna pronunciou-se sobre o livro, confirmando a raridade e importância do volume: “a primeira publicação propriamente litúrgica por autor brasileiro é o Rituale sacri de João da Veiga, com texto e melodias tridentinas”. Este trabalho tem o intuito de analisar o Ritual das Mercês do Pará e investigar a origem de seu conteúdo, confrontando-o com outros livros de origem européia, por meio da elaboração de aparatos críticos para os textos e melodias. Também foram investigadas as motivações e necessidade do frei João da Veiga realizar essa obra, a partir do levantamento da história mercedária e seus elementos litúrgico-musicais, e da história da presença da Ordem no Pará , que ainda é repleta de lacunas. Concluiu-se que o Ritual das Mercês do Pará é semelhante a outro ritual mercedário de origem espanhola – expandido com outras cerimônias de origem tridentina portuguesa ou da própria Ordem – que manteve as melodias mercedárias para suas cerimônias próprias mas as substituiu por melodias de livros portugueses nas cerimônias do calendário universal. Concluiu-se, também, que João da Veiga compilou o ritual para uso no processo de formação de noviços já que buscava reformar a Ordem no Pará por meio dos novos frades que ingressassem no convento, e seu conteúdo foi alterado para conter as cerimônias e melodias que eram usadas nas igrejas do Bispado do Pará, na segunda metade do século XVIII.
In an article published in the newspaper “A Província do Pará” on October 18, 1992, the historian, anthropologist, and folklorist from Pará, Vicente Salles, announced his most recent acquisition: a book with a Lati‘n title, printed to be used in the Convent of Mercedarian friars in Belém, on Pará. The researcher named it “João da Veiga’s antiphonary” - the name of the commander of the convent, printed on the book’s title page. Among his findings, it was one of the volumes for which he devoted the most care and interest, as he was certain it was one of the rarest. Drawing on the opinion of musicologist Clavier Filho, he argued that the book “highlights the importance of Iberian plainchant in the construction of Amazonian musical folklore”. In his doctoral thesis, Paulo Castagna spoke on the book, confirming the rarity and importance of the volume: “the first properly liturgical publication by a Brazilian author is João da Veiga’s Rituale sacri, with Tridentine texts and melodies”. This work aims to analyze the mercedarian Ritual of friars from Pará and investigate the origin of its content, comparing it with other books of European origin, through the development of critical apparatus for texts and melodies. The motivations and needs of Friar João da Veiga to carry out this work were also investigated, based on the history of the Mercedarian order and its liturgical-musical elements, and the history of the Order’s presence in Pará, which is still full of gaps. It was concluded that the Ritual of Mercês in Pará is similar to another Mercedarian ritual with Spanish origin – expanded with other ceremonies of Portuguese Tridentine origin or of the Order itself – which maintained Mercedarian melodies for its own ceremonies but replaced them with melodies from Portuguese books in universal calendar ceremonies. It was also concluded that João da Veiga compiled the ritual for use in the process of training novices as he sought to reform the Order in Pará through new friars who entered the convent, and its content was altered to contain the ceremonies and melodies that were used in the churches of the Bishopric of Pará in the second half of the 18th century.
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Videos by André Gaby
This work proceeds to a comparative analysis of the plainchant Asperges me extracted from the chant book published for use at the Mercedarian Convent of Pará in 1780. The purpose of the comparison, and therefore of the work, is to identify the probable origin of this chant’s melody, starting from the investigation of many chant books that may served as a source for this compilation: Mercedarians, Tridentines (roman or portuguese), or dominicans books. The conclusion contributes to the hypothesis that this chant book can be considered an example of “romanization” of the Mercedarian rite in Amazonia of the 18th century.
Articles by André Gaby
Península Ibérica, nas bibliotecas Nacional de Espanha (Madrid) e Nacional de Portugal (Lis- boa), da Torre do Tombo (Lisboa), além dos arquivos Histórico Ultramarino (Lisboa) e da Coroa de Aragão (Barcelona).
Papers by André Gaby
The João da Veiga's Mercedarian Ritual and the Liturgical-Musical Practice of the Mercedarians from the Convent of Pará: State of Art. Abstract: This work aims to expose the state of art of the research about the Mercedarian Ritual published in Portugal, in 1780, for use by the Friars of Pará. The document was first presented in 1995 by the researcher Vicente Salles, who acquired it from an antiquarian book dealer in Lisbon. In 2015 the research was resumed and others primaries sources were found in collections from Spain and Portugal; such documents was presented in a chapter of the book Amazonian Musical Archeology, about to be published.
debate, very important to the musicology in the world: the study of a
gregorian musical performance through the gregorian palaeography and
semiology. Since the iniciatives of Dom Guéranger, a Solesmes monk, in
1822, the abbey has been responsible of a renewal and return to the origins of
this monodical tradition, basilar to understanding the Western Music.
Launching an example of an interpretative proposal, based on gregorian
semiology studies, insert us in this process of renew, specially in Brazil, that
has suffered a very strong influence from the European culture.
Presentations in events by André Gaby
Embora as investigações apontem para a adaptação das melodias para aquelas presentes nos livros tridentinos, em especial o Theatro Ecclesiastico de Frei Domingos do Rosário, os dois volumes de cantorais paraenses apresentam repertórios para cerimônias de santos mercedários que não faziam parte do martirológio romano, e cujo repertório, portanto, não é encontrado em livros tridentinos. Tudo indica que tais melodias podem ter origem espanhola, pois estão presentes nos cantorais mercedários ali impressos.
Other by André Gaby
Thesis Chapters by André Gaby
In an article published in the newspaper “A Província do Pará” on October 18, 1992, the historian, anthropologist, and folklorist from Pará, Vicente Salles, announced his most recent acquisition: a book with a Lati‘n title, printed to be used in the Convent of Mercedarian friars in Belém, on Pará. The researcher named it “João da Veiga’s antiphonary” - the name of the commander of the convent, printed on the book’s title page. Among his findings, it was one of the volumes for which he devoted the most care and interest, as he was certain it was one of the rarest. Drawing on the opinion of musicologist Clavier Filho, he argued that the book “highlights the importance of Iberian plainchant in the construction of Amazonian musical folklore”. In his doctoral thesis, Paulo Castagna spoke on the book, confirming the rarity and importance of the volume: “the first properly liturgical publication by a Brazilian author is João da Veiga’s Rituale sacri, with Tridentine texts and melodies”. This work aims to analyze the mercedarian Ritual of friars from Pará and investigate the origin of its content, comparing it with other books of European origin, through the development of critical apparatus for texts and melodies. The motivations and needs of Friar João da Veiga to carry out this work were also investigated, based on the history of the Mercedarian order and its liturgical-musical elements, and the history of the Order’s presence in Pará, which is still full of gaps. It was concluded that the Ritual of Mercês in Pará is similar to another Mercedarian ritual with Spanish origin – expanded with other ceremonies of Portuguese Tridentine origin or of the Order itself – which maintained Mercedarian melodies for its own ceremonies but replaced them with melodies from Portuguese books in universal calendar ceremonies. It was also concluded that João da Veiga compiled the ritual for use in the process of training novices as he sought to reform the Order in Pará through new friars who entered the convent, and its content was altered to contain the ceremonies and melodies that were used in the churches of the Bishopric of Pará in the second half of the 18th century.
This work proceeds to a comparative analysis of the plainchant Asperges me extracted from the chant book published for use at the Mercedarian Convent of Pará in 1780. The purpose of the comparison, and therefore of the work, is to identify the probable origin of this chant’s melody, starting from the investigation of many chant books that may served as a source for this compilation: Mercedarians, Tridentines (roman or portuguese), or dominicans books. The conclusion contributes to the hypothesis that this chant book can be considered an example of “romanization” of the Mercedarian rite in Amazonia of the 18th century.
Península Ibérica, nas bibliotecas Nacional de Espanha (Madrid) e Nacional de Portugal (Lis- boa), da Torre do Tombo (Lisboa), além dos arquivos Histórico Ultramarino (Lisboa) e da Coroa de Aragão (Barcelona).
The João da Veiga's Mercedarian Ritual and the Liturgical-Musical Practice of the Mercedarians from the Convent of Pará: State of Art. Abstract: This work aims to expose the state of art of the research about the Mercedarian Ritual published in Portugal, in 1780, for use by the Friars of Pará. The document was first presented in 1995 by the researcher Vicente Salles, who acquired it from an antiquarian book dealer in Lisbon. In 2015 the research was resumed and others primaries sources were found in collections from Spain and Portugal; such documents was presented in a chapter of the book Amazonian Musical Archeology, about to be published.
debate, very important to the musicology in the world: the study of a
gregorian musical performance through the gregorian palaeography and
semiology. Since the iniciatives of Dom Guéranger, a Solesmes monk, in
1822, the abbey has been responsible of a renewal and return to the origins of
this monodical tradition, basilar to understanding the Western Music.
Launching an example of an interpretative proposal, based on gregorian
semiology studies, insert us in this process of renew, specially in Brazil, that
has suffered a very strong influence from the European culture.
Embora as investigações apontem para a adaptação das melodias para aquelas presentes nos livros tridentinos, em especial o Theatro Ecclesiastico de Frei Domingos do Rosário, os dois volumes de cantorais paraenses apresentam repertórios para cerimônias de santos mercedários que não faziam parte do martirológio romano, e cujo repertório, portanto, não é encontrado em livros tridentinos. Tudo indica que tais melodias podem ter origem espanhola, pois estão presentes nos cantorais mercedários ali impressos.
In an article published in the newspaper “A Província do Pará” on October 18, 1992, the historian, anthropologist, and folklorist from Pará, Vicente Salles, announced his most recent acquisition: a book with a Lati‘n title, printed to be used in the Convent of Mercedarian friars in Belém, on Pará. The researcher named it “João da Veiga’s antiphonary” - the name of the commander of the convent, printed on the book’s title page. Among his findings, it was one of the volumes for which he devoted the most care and interest, as he was certain it was one of the rarest. Drawing on the opinion of musicologist Clavier Filho, he argued that the book “highlights the importance of Iberian plainchant in the construction of Amazonian musical folklore”. In his doctoral thesis, Paulo Castagna spoke on the book, confirming the rarity and importance of the volume: “the first properly liturgical publication by a Brazilian author is João da Veiga’s Rituale sacri, with Tridentine texts and melodies”. This work aims to analyze the mercedarian Ritual of friars from Pará and investigate the origin of its content, comparing it with other books of European origin, through the development of critical apparatus for texts and melodies. The motivations and needs of Friar João da Veiga to carry out this work were also investigated, based on the history of the Mercedarian order and its liturgical-musical elements, and the history of the Order’s presence in Pará, which is still full of gaps. It was concluded that the Ritual of Mercês in Pará is similar to another Mercedarian ritual with Spanish origin – expanded with other ceremonies of Portuguese Tridentine origin or of the Order itself – which maintained Mercedarian melodies for its own ceremonies but replaced them with melodies from Portuguese books in universal calendar ceremonies. It was also concluded that João da Veiga compiled the ritual for use in the process of training novices as he sought to reform the Order in Pará through new friars who entered the convent, and its content was altered to contain the ceremonies and melodies that were used in the churches of the Bishopric of Pará in the second half of the 18th century.