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THE CONTRIBUTE OF MUSICAL ICONOGRAPHY IN THE

PORTUGUESE, LUSO-FLEMISH AND FLEMISH PAINTINGS IN


PORTUGAL AT SIXTEENTH CENTURY TO THE RECOGNIZING OF
MUSIC TECHNIQUES IN THOSE TIMES: SOURCES AND MODELS
USING IN THE ATELIER.

VOLUME I

Snia Maria da Silva Duarte


___________________________________________________

Master in Musicology
SEPTEMBER, 2011

ABSTRACT

THE CONTRIBUTE OF MUSICAL ICONOGRAPHY IN THE PORTUGUESE, LUSO-FLEMISH AND


FLEMISH PAINTINGS IN PORTUGAL AT SIXTEENTH CENTURY TO THE RECOGNIZING OF
MUSIC TECHNIQUES IN THOSE TIMES: SOURCES AND MODELS USING IN THE ATELIER.

Snia Maria da Silva Duarte

KEYWORDS: musical iconography, portuguese painting, luso-flemish painting,


Flemish paintings, 15

th

century, 16th century, chordophones, aerophones, idiophones,

membranophones, musical notation.

Is yet to be made the study of musical iconography in portugueses retable, luso-flemish


and Flemish in Portugal, between the late Middle Ages and the Renaissance, covering
not only the living works of the National and Municipal Museums spaces par
excellence of gathering, storage, preservation and disclosure of pieces but extending it
to other microspaces such as mercies, sanctuaries, public chapels, oratories, private
chapels/private collections and parochial churches. Abandoned the single largest project
that was announced the 1976 survey, by the Direco-Geral do Patrimnio Cultural, to
the District Boards, Municipalities, Civil Governments, Libraries, Archives and
Museums in the country aimed at raising the entire musical iconography in Portugal in
various art forms, we must now analyze the little that has been done for lack of funds
and consider other solutions to walk toward the construction of a future
multidisciplinary endeavor, focusing, for now, the painting on wood since the most
remote example found, A Virgem com o Menino e Anjos from lvaro Pires de vora
up to the paintings that bring us closer to 1580, as the Assuno of Portalegre. Based on
the survey file and taking, then all efforts with owners and institutions, we were able to
analyze and identify, on the spot, the musical aspects in more than eight dozen tables
(primary sources) supporting a historical-artistic interpretation, as much as we could, on
the use of secondary sources as the original instruments, theoretical works and other art
forms that refer to sources and models used in atelier.

Pintores, luminadores
agora no cume estam,
ourivizes, esculptores,
sam mais sotis, e melhores,
que quantos passados sam:
Vimos o gram Michael,
Alberto e Raphael;
e em Portugal h taes,
tam grande e naturaes,
que vem quase ao liuel.1

Capa: Nativity (detail), Gregrio Lopes, oil on wood, ca. 1525-50, private collection.

Cf. Garcia de RESENDE, Crnica de D. Joo II e Miscelnea [ed. fac-similada da edio de 1798],

prefcio de Joaquim Verssimo Serro, Lisboa, Imprensa Nacional - Casa da Moeda, 1991, p. 363.

INDEX
SIGLAS E ABREVIATURAS .................................................................................................................
INTRODUO ..................................................................................................................................
1.

FORTUNA CRTICA E STATUS QUESTIONIS: A ICONOGRAFIA MUSICAL NA PINTURA QUATROCENTISTA E

QUINHENTISTA EM PORTUGAL AOS OLHOS DA HISTRIA DA ARTE E DAS CINCIAS MUSICAIS ............................

1.1 Modos de ver pelas Cincias Musicais..................................................................................


1.2 Modos de ver pela Histria da Arte .......................................................................................
1.3 Fortuna Crtica e Status Questionis: consideraes finais.....................................................
1.4 Metodologia ..........................................................................................................................
2.

ICONOGRAFIA MUSICAL NA PINTURA RELIGIOSA QUATROCENTISTA E QUINHENTISTA SOBRE MADEIRA:

TEMAS E FONTES LITERRIAS. .................................................................................................................


2.1 Iconografia musical: muito breve definio. .........................................................................
2.2 Os temas iconogrficos .........................................................................................................
3.

PINTURA E MSICA EM PORTUGAL DURANTE E POCA DE QUATROCENTOS QUINHENTOS ..........................

3.1 Os ambientes de Quatrocentos ............................................................................................


3.2 Os ambientes de Quinhentos ................................................................................................
4.

O RECONHECIMENTO DA ICONOGRAFIA MUSICAL VOCAL E INSTRUMENTAL: FONTES E MODELOS ...............


4.1 Os Intrpretes de msica baixa e de msica alta .................................................................
4.2 Os Idiofones...........................................................................................................................
4.3 Os Membranofones...............................................................................................................
4.4 Os Cordofones .......................................................................................................................
4.5 Os Aerofones .........................................................................................................................
4.6 A Dana .................................................................................................................................

CONCLUSO ....................................................................................................................................
BIBLIOGRAFIA ..................................................................................................................................

O CONTRIBUTO DA ICONOGRAFIA MUSICAL NA PINTURA


QUINHENTISTA PORTUGUESA, LUSO-FLAMENGA E FLAMENGA EM

PORTUGAL, PARA O RECONHECIMENTO DAS PRTICAS MUSICAIS


DA POCA: FONTES E MODELOS UTILIZADOS NAS OFICINAS DE
PINTURA.

VOLUME II - ANEXOS

Snia Maria da Silva Duarte


___________________________________________________

Dissertao de Mestrado em Cincias Musicais


SETEMBRO, 2011

THE INVENTORY

If I didnt hear, I never saw it. 2


Till-Holger Borchert (Groeningemuseum)

Oral transmission.