Data Base by Graça Videira Lopes
Stemma, 2023
A new database on the Cancioneiros Medievais Galego-Portugueses, featuring the colors of the mini... more A new database on the Cancioneiros Medievais Galego-Portugueses, featuring the colors of the miniatures of C. Ajuda and also the life and works of D. Miguel da Silva, bispo de Viseu (among other data). From the Stemma Project team
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Full texts of medieval galician-portuguese "cantigas", with music, manuscripts, trobadours' biogr... more Full texts of medieval galician-portuguese "cantigas", with music, manuscripts, trobadours' biographies, notes and much more
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The practice of "contrafactum", that is, the use of earlier melodies in new compositions, is exte... more The practice of "contrafactum", that is, the use of earlier melodies in new compositions, is extensively documented in medieval lyric. Within the Galician-Portuguese lyric (of which only thirteen original melodies survived), many of the models that were followed, not only literary but also musical, seem to have been extra-peninsular compositions, with emphasis on previous (and generally well known) Provençal or French melodies.
During the extensive scientific work that led to the Galician-Portuguese Medieval Songs database (http://cantigas.fcsh.unl.pt/index.asp?ling=eng), this issue was marginally noted down. The present database, resulting from the project «Models and variations: the medieval Iberian lyric in the troubadour Europe», supported by the Calouste Gulbenkian Foundation, aims to systematize all these cases of "contrafacta", using either the data that have been collected by previous researchers, or the new data collected by the team of this project.
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Books by Graça Videira Lopes
A obra Cantigas medievais galego-portuguesas: corpus integral profano, coordenada por Graça Videi... more A obra Cantigas medievais galego-portuguesas: corpus integral profano, coordenada por Graça Videira Lopes, uma coedição entre a Biblioteca Nacional de Portugal (BNP), o Instituto de Estudos Medievais (IEM) e o Centro de Estudos de Sociologia e Estética Musical (CESEM), foi lançada no dia 30 de janeiro de 2017, sendo apresentada por Xosé Ramón Pena, especialista em língua e literatura galega.
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A comemoração dos cem anos da descoberta e primeira publicação, em 1915, do Pergaminho Vindel do ... more A comemoração dos cem anos da descoberta e primeira publicação, em 1915, do Pergaminho Vindel do século XIII contendo sete cantigas de amigo de Martim Codax, seis das quais acompanhadas pela notação musical, reuniu, em Lisboa (FCSH-UNL), em novembro de 2015, alguns dos mais destacados especialistas da poesia medieval galego-portuguesa num encontro que serviu de ponto de partida aos trabalhos aqui apresentados.
O livro está disponível nos dois institutos da FCSH responsáveis pela sua edição, IEM e CESEM.
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Livro/CD, com pequena antologia de cantigas (incluindo tradução para o Português atual), saído co... more Livro/CD, com pequena antologia de cantigas (incluindo tradução para o Português atual), saído com o jornal Publico a 27 de janeiro de 2015
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Estudos apresentados no encontro de 23 de outubro de 2013, na FCSH/UNL, Lisboa
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Versão atualizada e corrigida do livro de 1994 (já não disponível no mercado). Embora a estrutura... more Versão atualizada e corrigida do livro de 1994 (já não disponível no mercado). Embora a estrutura geral do trabalho não tenha sido alterada, os textos das cantigas são agora apresentados na leitura que consta na BD online Cantigas Medievais Galego-Portuguesas, tendo sido igualmente corrigidos lapsos e gralhas do texto. Em dois ou três pontos, procedeu-se também a uma ligeira atualização das matérias tratadas.
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Papers by Graça Videira Lopes
Heritage , 2024
This pioneering work studied the medieval color palette of four manuscripts produced in the scrip... more This pioneering work studied the medieval color palette of four manuscripts produced in the scriptorium of Alfonso X, king of the Crown of Castile (r. 1252-84), including the Songs of Holy Mary (Cantigas de Santa Maria, in Rich Codex and Musicians’ Codex), Lapidary (Lapidario), and Book of Games (Libro de los juegos). Scientific analysis based on fiber-optics reflectance spectroscopy in the visible and Raman spectroscopy showed a color palette based on lapis lazuli, indigo, azurite, vermilion, red lead, orpiment, yellow ochre, two different greens (bottle green and vergaut), lead white, carbon-based black, and most importantly, brazilwood pinks, reds, and purples. So, it is now the first reported use of this lake pigment in European medieval manuscript illumination. The painting technique is also discussed. The diversity of colors and techniques, with the presence of lapis lazuli, brazilwood lake pigments, purple, and gold, demonstrates Alfonso X’s desire to produce sumptuous manuscripts.
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heritage, 2024
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
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Coloquio-letras, 2017
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From all voices arriving to us from the Iberian Middle Age, those of the GalicianPortuguese troub... more From all voices arriving to us from the Iberian Middle Age, those of the GalicianPortuguese troubadours and minstrels are probably the most direct. I use the word “voices” obviously as a metaphor, since what we really have, apart a few melodies, are not exactly the voices but only the words that such voices have once sung. One should outline however that those words are words for singing. And also that, in this case, the word “singing” should be understood not in a metaphorical sense (as later happens in the work of Camoes “Eu canto o peito ilustre lusitano...” “I sing the honorable Lusitanian heart...”) but as clearly referential: the texts, the words that have survived from medieval poetry were actually sang, and, as far as we can presume, they were sang by their authors, at least in an initial moment. And this is the first fact which directly leads us to the medieval body, even if, in this case, this body is impossible to remake: the fact that these words were publically sang by ...
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Medieval Europe in motion : the circulation of artists, images, patterns and ideas from the Mediterranean to the Atlantic coast (6th - 15th centuries) / edited by Maria Alessandra Bilotta. – Palermo : Officina di Studi Medieval, 2018
Iniciado na Provença entre os anos finais do século XI e inícios do século XII, o canto trovadore... more Iniciado na Provença entre os anos finais do século XI e inícios do século XII, o canto trovadoresco rapidamente se alarga a toda a Europa medieval. Este alargamento é indissociável da circulação dos textos e das vozes, tanto nos momentos iniciais de adaptação do universo trovadoresco a regiões e línguas distintas, como ao longo dos dois séculos seguintes, os de solidificação e desenvolvimento dos modelos. É sobre o momento inicial no contexto ibérico que este estudo se debruça
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Comparative History of Literatures in European Languages, 2010
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A monument to Galician-Portuguese medieval lyric, the Ajuda Songbook (Cancioneiro da Ajuda) also ... more A monument to Galician-Portuguese medieval lyric, the Ajuda Songbook (Cancioneiro da Ajuda) also contains an exceptional series of illuminations. Employing a multidisciplinary approach, this article uncovers the composition of the colour paints used in the Songbook, providing further insight into the circumstances of its production. It also connects the materiality of this manuscript to its economic and cultural context. Our determination of its molecular palette – and the identification of both orpiment and mosaic gold in particular – supports the argument put forward by scholars of medieval literature that the Songbook dates to the end of the thirteenth or beginning of the fourteenth century. We also highlight the extraordinary state of conservation of the lapis lazuli paint, and the presence of a pink colour made from brazilwood – the first reported use of this pigment in medieval manuscript illumination. Finally, we discuss the iconography of the Songbook’s musical scenes with a...
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Data Base by Graça Videira Lopes
During the extensive scientific work that led to the Galician-Portuguese Medieval Songs database (http://cantigas.fcsh.unl.pt/index.asp?ling=eng), this issue was marginally noted down. The present database, resulting from the project «Models and variations: the medieval Iberian lyric in the troubadour Europe», supported by the Calouste Gulbenkian Foundation, aims to systematize all these cases of "contrafacta", using either the data that have been collected by previous researchers, or the new data collected by the team of this project.
Books by Graça Videira Lopes
O livro está disponível nos dois institutos da FCSH responsáveis pela sua edição, IEM e CESEM.
Papers by Graça Videira Lopes
During the extensive scientific work that led to the Galician-Portuguese Medieval Songs database (http://cantigas.fcsh.unl.pt/index.asp?ling=eng), this issue was marginally noted down. The present database, resulting from the project «Models and variations: the medieval Iberian lyric in the troubadour Europe», supported by the Calouste Gulbenkian Foundation, aims to systematize all these cases of "contrafacta", using either the data that have been collected by previous researchers, or the new data collected by the team of this project.
O livro está disponível nos dois institutos da FCSH responsáveis pela sua edição, IEM e CESEM.
sinalizadas. Datáveis de c. 1200-1203, ou seja, contemporâneas da fase inicial da lírica galego-portuguesa, estas duas composições suscitam assim múltiplas questões. Como e quando teria Vaqueiras entrado em contacto com o trovadorismo do noroeste ibérico? Que circunstâncias o teriam levado a incluir o Galego-Português no seu descordo (ao lado do provençal, do francês, do italiano e do gascão)? Será mesmo a cantiga de amigo galego-portuguesa o modelo de "Altas Undas"? E, nesse caso, que cantiga ou cantigas concretas seriam essas? Como explicar
as semelhanças entre estas "Altas Undas" e as "Ondas" de Martim Codax, sobretudo se a cronologia do jogral galego parece apontar para meados do século XIII? É, pois, este o contexto em que se inserem estas notas, nas quais procurarei fazer um resumo crítico dos conhecimentos e hipóteses atuais sobre o assunto, e deixar ainda, mais do que respostas, algumas interrogações finais.