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Abstract(s)
O presente projeto tendo por base obras de dois compositores de modinhas do século XIX, José Francisco Édolo e José Francisco Acuña do cenário português, e dois do século XX, Heitor Villa-Lobos e Lorenzo Fernández do contexto brasileiro, revisita o ambiente artístico dos respetivos períodos e evidencia algumas diferenças estruturais de referencial técnico e de seu Modus operandi. Enquanto em Portugal, a partir da segunda metade do século XVIII, as modinhas se adequavam ao padrão de canção de câmara, sendo um produto que compunha os altos salões da nobreza portuguesa e da classe burguesa em ascensão, no Brasil, a modinha distancia-se dos padrões pré-estabelecidos pelos castrati na Capela Real do Rio de Janeiro no alvorecer do século XIX, apropriando-se na primeira metade do século XX, do ideal vanguardista promovendo as ideias do pensamento nacionalista.
The present project, based on works by two composers of modinhas from the 19th century Portuguese scene, José Francisco Édolo and José Francisco Acuña, and on works by two from the 20th century Brazilian context, Heitor Villa-Lobos and Lorenzo Fernández, revisits the artistic environment of the respective periods and shows some structural differences of technical reference and its Modus operandi. While in Portugal, from the second half of the 18th century onwards, a modinha, being an important element of the nobility social life and of the rising bourgeois class, adapted to the patterns of chamber song, in Brazil, in the Royal Chapel of Rio de Janeiro at the dawn of the 19th century, modinhas tend to distance from the castrati preestablished patterns, appropriating, in the first half of the 20th century, the avant-garde ideal of a nationalist thought.
The present project, based on works by two composers of modinhas from the 19th century Portuguese scene, José Francisco Édolo and José Francisco Acuña, and on works by two from the 20th century Brazilian context, Heitor Villa-Lobos and Lorenzo Fernández, revisits the artistic environment of the respective periods and shows some structural differences of technical reference and its Modus operandi. While in Portugal, from the second half of the 18th century onwards, a modinha, being an important element of the nobility social life and of the rising bourgeois class, adapted to the patterns of chamber song, in Brazil, in the Royal Chapel of Rio de Janeiro at the dawn of the 19th century, modinhas tend to distance from the castrati preestablished patterns, appropriating, in the first half of the 20th century, the avant-garde ideal of a nationalist thought.
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Keywords
Modinha Século XIX Século XX Nacionalismo 19th century 20th century Nacionalism