CasteloBranco InSearchLost 1988

"In Search of a Lost World": An Overview of Documentation and Research on the
Traditional Music of Portugal

Author(s): Salwa El-Shawan Castelo-Branco and Maria Manuela Toscano
Source: Yearbook for Traditional Music , 1988, Vol. 20 (1988), pp. 158-192
Published by: Cambridge University Press
Stable URL: https://www.jstor.org/stable/768172
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"IN SEARCH OF A LOST WORLD":' AN OVERVIEW OF
DOCUMENTATION AND RESEARCH ON THE TRADITIONAL
MUSIC OF PORTUGAL2
by Salwa El-Shawan Castelo-Branco

Maria Manuela Toscano
1. Introduction
Ethnomusicology as an academic discipline was introduced to

Portuguese university system for the first time in 1981 with the foun
of the musicology department at the Universidade Nova de Lis
However, local interest in the documentation and study of Traditio
Portuguese Music (TPM) goes back to the second half of the ninetee
century. Since the 1870s, several aspects of TPM from rural areas h
been documented and investigated by Portuguese musicologist
composers, music teachers, anthropologists, folklorists, folk mus
enthusiasts and "local erudites".3 In addition, a handfull of foreig
researchers have published on TPM, both in Portugal and abroad.
A large corpus of studies, transcriptions and recordings, mos
unknown outside Portugal, has been locally published, providing, in ma
cases, a point of departure for future research. Some of these publicati
and the trends they reflect, are briefly discussed in an annota
bibliography of Portuguese ethnography (Pereira 1965);4 commenta
on, or accounts of, the history and present state in Portugal of musicol
(Brito 1984, Kastner 1960), anthropology (e.g., Areia 1984/86; Call
Boisvert 1967; Freitas Branco 1986; Dias, J. 1969a; Sa 1978; Veiga d
Oliveira 1968 and 1988), folk literature and traditional music resear
(e.g., Guerreiro 1983; Lopes Graia 1959b,-D- 1959, -Mi- 1959, 1974b:9
Morais 1984; Pinto-Correia 1984).5. As yet, a thorough evaluation
research on TPM has not been carried out, making it difficult for intere
scholars to have an overview of existing materials.
This article will assess written documentation and research on TPM from
rural areas. Our focus on rural traditions is partially determined by the
fact that, although TPM thrives in both rural and urban contexts, with
the exception of Lisbon's Fado, extant research primarily deals with rural
traditions.6 An audio report evaluating recorded documentation is planned
for a future issue of YTM. In addition, publications on Fado will be
evaluated in a separate publication.
2. Local Concepts of Traditional Music

In Portugal, several concepts have been used to designate traditional
music, including misica popular, mzisica folcl6rica, mzisica regional,
caniio rzstica, and m'sica tradicional. These terms are usually not
defined, and, at times, used interchangeably. However, several criteria
underlying their use are implicit in many publications, and include
authenticity, rural provenance, oral transmission, anonymous creation,
continuous integration in the life of a group, and conservativeness.

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COUNTRY REPORTS PORTUGAL / 159
The prominent composer and

1906) is one of the few writers on TPM who has been aware of the
importance and complexity of defining major concepts (e.g., Lopes Graia
n.d. (b), and 1973b). He clearly associates the notion of mzsica popular
with rural provenance and "authenticity". In addition, for him "folclore
aut ntico" (authentic folklore) primarily associated with rural traditions,
stands in direct opposition to "contrafaciao folcl6rica" (literally, folkloric
counterfaction) including, "touristic folklore", Fado and "media songs",
which he condemns (ibid. 1974 b:13-29). It is interesting to note that Lopes
Graia was aware of, and agreed with, the definition of folk music proposed
by the International Folk Music Council in 1959 (Lopes Graia 1973b).
Of all the terms mentioned above, mu'sica popular has been most
commonly used in Portugal. Unlike other terms which point specifically
to music from rural areas, muzsica popular has been used both as a generic
and specific term. As a generic term, it designates rural and urban musical
traditions. As a specific term, it has been applied to either urban popular
traditions (e.g., Lopes Graqa 1959d:151; Marvao 1984) or to the more
restricted sphere of urban political songs (Correia 1984). Musica
Tradicional is a recent addition to the list of terms designating rural musical
traditions.
3. An Historical Overview Of Documentation and Research on

Traditional Portuguese Music
3.1 The Beginnings (1872-ca. 1920)
The first musical transcriptions of TPM published by Neves e Melo in
1872 mark the beginnings of a period lasting up to the 1920s during which
an interest in collecting, studying, and disseminating TPM emerged.
However, the publications produced, primarily musical transcriptions,
were quite meager, especially when compared to the breadth and depth
of philological and ethnographic studies carried out during the same period.
Interest in traditional music research was prepared for and inspired by
Portuguese literary romanticism, as well as philological and ethnological
research. Romanticism in Portugal was characterized, among other things,
by the search for the genuine roots of Portuguese culture in rural traditions,
especially oral literature. It was introduced in 1825 by Almeida Garrett
(1799-1854), a prominent writer, politician, reformer of the national theatre
and founder of the Conservat6rio Real de Misica e de Teatro (Royal
Conservatory of Music and Theatre). Garrett was also the first compiler
of oral literature in the Iberian Peninsula. He began collecting in 1821,
and published his Cancioneiro e Romanceiro Geral in 1843 (vol. 1) and
1851 (vols 2 and 3).
Garrett did not carry out field work. Rather he took down the texts
from "intermediaries" including his mother, house servants, and friends
as well as from written sources. Like many nineteenth century collectors,
he admittedly altered the texts in various ways, "correcting", "restoring",
"sweetening", and "adapting them to a more civilized taste" (Guerreiro
1983:75). Despite its drawbacks, Garrett's pioneering work marks the
beginnings of the systematic study of oral literature inspiring subsequent

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160 / 1988 YEARBOOK FOR TRADITIONAL MUSIC
investigators and calling attention to the importance of collectin

studying Portuguese rural traditions.
Garrett's work inspired a generation of researchers of Portug
traditions including two of the pioneers of Portuguese ethnology, Th
Braga (1854-1924), and Jose Leite de Vasconcelos (1858-1941). Both
scholars carried out extensive research on the literary aspects of the
Romanceiro (balladry) and Cancioneiro (song repertoire) (Braga 1867,
-A-1869, 1905, 1906 and 1909; Leite de Vasconcelos 1907, 1958-60 and
1975-79).7 They were aware of the early attempts at the documentation
and study of TPM. In addition, they prefaced two transcription collections,
providing analyses of the texts, pointing out the close relationship between
music and text, and the necessity of studying music as an element of culture
(Braga 1893 and Leite de Vasconcelos 1896). Their extensive research on
Portuguese oral literature and ethnography provides invaluable
information on myriad aspects of TPM including the origins and
distribution of genres and instruments, the contexts of music making, music
concepts and behavior. Finally, their focus on rural traditions and oral
poetry, in particular the romanceiro and cancioneiro, set an example which
was followed by many scholars of Portuguese oral traditions, including
music.
The musical transcriptions pubished by Neves e Melo in 1872 document
the texts and melodies of songs from Coimbra, Minho, Tras-os-Montes
and the Azores. These were followed by three volumes of harmonized
transcriptions by Cesar das Neves and Gualdino Campos (1893, 1895, and
1898) which include rural and urban songs (including Fado) from various
parts of Portugal, as well as foreign songs popular in Portugal at the time.
During the same period, Thomas published a volume of harmonized
transcriptions from Beira (-B- 1896).
In short, the documentation and dissemination of TPM up to the 1920s
was primarily carried out through: 1) musical transcriptions attempting
to represent the music in question as closely as possible; 2) harmonized
versions of traditional melodies set for piano, piano and voice, or chamber
music ensembles of various types; 3) stylized versions of traditional
melodies set for military bands, orchestras, and amateur choruses.
Furthermore, with few exceptions, collections of transcriptions or
harmonizations of traditional melodies were published either without
commentary, or with a brief introduction offering generalizations on
Portuguese traditional song, excluding any analysis of the corpus
transcribed.
The proliferation of harmonizations of TPM and the urge to salvage
fast disappearing traditions, led the Conselho de Arte Musical (Council
of Musical Art= CMA) of the Conservat6rio Real de Lisboa (Royal
Conservatory of Lisbon) to include in the first issue of the conservatory's
journal, published in 1902, a "circular" entitled Cancioneiro Popular
Portugu- s (Portuguese "Folk" Song Repertoire). In this historical
document, the CMA stated that it will assume the responsibility of
collecting TPM using a more systematic methodology, and that it will also
evaluate materials brought by other collectors (Conselho 1902). In addition

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it solicited contributions to th
Portuguese musical traditions
The "circular" was quite specific
it recommended. It states that: ". . . the Council (= CMA) aims that its
version of folklore be as exact and complete as possible, providing the
largest number of variants of the same song and its geographic distribution,
thus making a valuable contribution to the study of the Portuguese people
and the development of cultivated art.
. The collecting of songs . . . must be carried out with utmost care,
registering the melodies simply as they are presented by the people, no
matter what their form might be, with or without harmonization, but
without any personal interference from the collector . . . Each song should
be accompanied by its designation, the name of the locale, time and
festivity in which it was sung or played, as well as the instruments with
which it was accompanied, and any other indications which can complete
the physiognomy of the version documented"8 (Conselho 1902: 15-16).
The principles called for in this document were not as widely adopted
as might have been expected. However, Thomas, one of the most active
investigators of TPM during this period, provides an interesting example
of the "circular's" impact. He ceased to harmonize his transcriptions after
1902 (1913 and 1919), but also he removed the harmonizations from the
second edition of his CanC6es Populares da Beira (1923) first published
in 1896. On the other hand, Jaime Lopes Dias, author of an extensive
ethnography, including music, of the province of Beira Baixa, despite citing
the entire text of the "circular" in one of his publications (-B- Lopes Dias
1937/1971), continued to harmonize his transcriptions, with the purpose
of disseminating the repertoire (e.g., -B- Lopes Dias 1927/1964 and
1937/1971).
Ant6nio Arroyo, a prominent art critic, published the most extensive
introduction to a collection of transcriptions (Thomas' Velhas Cancoes
e Romances Populares, 1913), a publication which has become a landmark
in the history of TPM research. Arroyo was aware of developments in
folk music research in others parts of Europe. He appealed for the
introduction of a scientific methodology in TPM research. Pointing out
the deficiencies of traditional notation, he recommended the use of the
gramophone (Arroyo 1913:14). He also stated that he himself had made
several phonograph recordings of TPM. Unfortunately, no further
information is presently available on these early recordings. As far as we
know, with the exception of Kurt Schindler's recordings made in Tras-os-
Montes in the late 1920s and early 1930s, it was only in the 1940s that
recordings of TPM were made by Armando Le;a, sponsored by the
Emissora Nacional (National Radio). These recordings, as yet unpublished,
are deposited in the Portuguese Radio's archives.
Arroyo's introduction also proposes the division of Portugal into four
areas using geographic, climatic, and demographic criteria, as well as what
he refers to as the ". .. structural and expressive character" of Portuguese
"folk" song (Arroyo 1913:26-27). He also suggests that the characteristics
of 'folk' song are directly determined by their geo-physical context (ibid:

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26), a conception which was echoed in many subsequent public

To close, most writings on TPM during this period were in Portug
An exception is provided by the French publications on tradit
instruments, selected dance songs, and vocal genres (including F
Lambertini (1852-1920), a Portuguese musicologist of Italian de
through whom many foreign researchers were introduced to
(Lambertini n.d. and 1920).
3.2 The Rise of Traditional Portuguese Music Research

(ca. 1920-1974)
Starting with the mid-1920s, there was a considerable increase in the
quantity and quality of documentation and investigation, particularly on
the music of specific provinces (e.g., -Al- Marvao 1955; -Mi- Sampaio
1986 first published in 1940), municipalities (e.g., -T- Martins 1928 and
1938; -D- Pereira 1950, 1957, 1959) and small locales therein (e.g., -B-
Correia [1983]). Several publications deal with genres or instruments and
their distribution throughout Portugal (e.g. Pires de Lima 1962; Rebelo
Bonito 1959; Veiga de Oliveira 1966/1982b). In addition, a handful of
publications attempt to survey TPM throughout the country (e.g., Gallop
1933a and b, 1960; Leia 1922 and 1942; Lopes Graia 1974b).
Stimulated by the urgency of salvaging fast disappearing rural traditions,
TPM researchers came from a variety of backgrounds. They were "local
erudites", in many cases catholic priests (e.g. -A- Fraga; -Al- Marvao;
-T- Martins), ethnographers (e.g., -B- Lopes Dias), anthropologists (Jorge
Dias), composers (Lopes Graia), music teachers and choral directors (V.
Pereira). Most investigators worked independent of any institutional
support. A few were sponsored by local or national organizations such
as the Juntas de Provincia (Provincial Councils), Emissora Nacional
(National Radio) and the Gulbenkian Foundation.
Some publications on TPM during this period integrate music within
a more general ethnography of the area in question (e.g., -B- Lopes Dias
1927/1964 and 1937/1971 and -T- Martins 1928 and 1938). Others
primarily focus on the musical repertory of a geo-cultural unit (e.g., -Al-
Marvio 1955).
In contrast to earlier research, there is an attempt to deal with music
systematically and thoroughly. In most publications, musical transcriptions
no longer constitute the major content, but are used to illustrate and
complete researchers' analyses. Harmonizations are no longer used as a
form for the presentation of traditional melodies. Rather, a clear distinction
is made between transcription for the purpose of documentation and
harmonizations of traditional melodies intended for performance by choral
'art" music groups (Lopes Graia 1959a and 1965a).
Throughout this period TPM research primarily focused on the music
product of rural areas, especially those genres thought to be "authentic"
survivals of "archaic" practices. The explanation of TPM's origins was
of concern to many researchers whose publications abound with
discussions on the early "art" music, as well as Arab, Spanish, and other
European origins of genres, instruments or stylistic features. In addition,

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
the diffusion of musical elem

continental Portugal to the Azo
to the Americas, has also concer
been interested in examining t
environment and musical style.
ties between the border areas of
have analyzed the musical rela
countries.
Starting with the 1940s, sound recording became an important form
of documentation. A partial discography of TPM is provided in Giacometti
and Lopes Grala (1981). An evaluation of published and unpublishe
recordings is urgently needed. Following the recordings made by Armando
Lela during the 1940s, two significant collections were published in th
1960s: 1) a five volume recorded anthology documenting music from Tras-
os-Montes, Algarve, Minho, Alentejo, Beira Baixa, Beira Alta, and Beir
Litoral, compiled by Lopes Grala and Giacometti; 2) a multiple volum
recorded anthology from the Azores, compiled by Artur and Ti61ia Santos.
These valuable recordings represent a small part of several unpublishe
collections which are scattered in local and national institutions or in
private hands. Unfortunately, the lack of a national archive makes it
difficult for interested scholars to have access to those collections.
Several investigators made a particularly notable contribution to the
study of TPM, in some cases influencing subsequent research. During the
1930s, Rodney Gallop (1901-1948), a British diplomat and folk music
scholar, made one of the few attempts to deal with TPM covering a large
part of the country. Some of his publications were translated from English
into Portuguese and widely read by Portuguese researchers (Gallop 1960).
Gallop called for the salvaging of TPM at a time of rapid change and
suggested three measures: 1) the collection of traditional melodies by
qualified musicians; 2) the formation of performance groups in the villages
of Portugal which would help preserve local traditions; 3) the docu-
mentation of musical traditions through sound recordings of rural
practitioners (ibid.:36). Like other researchers, Gallop was concerned with
the explanation of TPM's origins. He refuted the then commonly accepted
notion of the "originality" of TPM pointing out multiple external influences
(ibid.21-23). He also applied the concept of gesunkenes Kulturgut to TPM,
arguing that ". . . the people do not create, they reproduce . . . plagiarize,
assimilate, adapt and often deform motives and themes invariably
originating in the higher social spheres" (ibid.11). Although some
researchers in Portugal accepted Gallop's thinking, several more critically
minded investigators dismissed his outdated notion (e.g., Lopes Graia
1973c).
The 1950s and 1960s were marked by the contributions of the composer
Lopes Graoa, the musicologists Vergilio Pereira (1900-1965), Rebelo Bonito
(1896-1969) and Margot Dias (b. 1908), as well as the anthropologists Jorge
Dias (1907-1973), and Ernesto Veiga de Oliveira (b. 1910). Lopes Grala
is one of the twentieth-century Portuguese composers who ttempted to
create a national musical idiom. He resorted, largely, to TPM for

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inspiration as well as some of his basic compositional material, integ

and manipulating it within the larger framework of a twentieth-ce
musical vocabulary which he developed.
Lopes Graia's artistic and social concerns-in particular, his at
to create Portuguese music accessible to all social strata while maint
what he considered to be essential "aesthetic qualities"--are refle
his multifaceted and intense activities as composer, folk music
music educator, performer, chorus founder and conductor, writer on
and critic.
As a writer on music Lopes Graga is prolific. He produced more than
thirty volumes during a period spanning over four decades (1940-1985)
(Carvalho 1988:19-31). He also collaborated with Tom-s Borba on what
still remains the only Portuguese dictionary of music (Tomas Borba and
Lopes Graia 1956-1958), including many entries on TPM, non-Western
music and ethnomusicology.9
Lopes GraCa's writings on music, which were intended both for the
general and the more specialized reader, deal with a variety of topics
including: Portuguese music history and its problems, twentieth century
music and some of its composers in Europe, problems of musical life in
contemporary Portugal and traditional music in Portugal.
In his writings, he always assumed himself as a composer and not as
a scholar. Yet, he made a serious attempt at collecting and systematizing
traditional music from rural areas throughout Portugal. Prior to his first
field research experiences in the 1940s, he was familiar with all available
literature on TPM and used some of this material in his compositions.
It is significant to note that his very first musical composition (1927) was
a vocal composition based on a traditional tune.
His first field research experiences in the 1940s were in the southern and
eastern provinces of Alentejo and Beira Baixa, respectively, which he
considers to be areas offering the most interesting traditional music
materials. Starting with the 1960s, he carried out field research with the
Corsican collector Giacometti which resulted in the production of the
above mentioned recorded anthology of TPM.
Lopes Grala's ideas about TPM research, which he transmitted through
his numerous publications, were influential. His thinking on the
relationship of music to its social context is in line with the dynamic
perspective reflected in ethnomusicology since the 1960s. He has not been
concerned with origins, but rather with the manner through which
. the function of 'folk' songs has an impact on its musical expression
and structure" (1959d:152).
Throughout his work, Lopes Graga has considered musical transcription
as an important, although not sufficient research tool. His two major
publications on TPM (1974b and Giacometti and Lopes Graga 1981) consist
primarily of musical transcriptions.10 Although the criteria for the selection
of the sample transcribed are not clearly stated in either of these
publications, one gathers from his other writings that what Lopes Graga
considers to be the "aesthetic quality" of the examples included is of
primary importance. Clearly, his choice of TPM repertoire transcribed

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
is informed by his interests as a

methodology he uses in the transcri
states that he introduces the followin
"1) texts are transcribed in curren
differences; 2) parts of the texts are
order to condense or extend the son
register is used for all examples so
polyphonies are reduced to monod
which form the major corpus of h
Lopes Graga is much more careful
a fact which can be verified through
and Lopes GraCa 1981). Most ele
However, the modal flavor of the vo
from the transcriptions.
In contrast to several earlier resear
TPM according to geographical areas, Lopes Graga proposes a
classification using musical criteria. He divides TPM into two groupings:
1) monodic and polyphonic songs; 2) tonal, modal, chromatic songs as
well as songs with a simple structure based on tetrachordal and
pentachordal nuclei (1974b:38 and Giacometti and Lopes Graga 1981:9).
He also proposes that the following characteristics are predominant in
TPM: 1) the disparity between text and music due to the variability and
mutability of the texts set to the same melody (1974b:31); 2) the quatrain
as the basic structure of vocal music, with the exception of romances and
religious songs (ibid.32); 3) the predominance of earlier forms of polyphony
such as gymel and fabourdon, which is performed by women in all areas
except Alentejo (Giacometti and Lopes Graga 1981:8); 4) the importance
of religious music and the inclusion of folk elements in the liturgies (ibid.:9);
5) the omnipresence of balladry and its particular presence in Tras-os-
Montes and Algarve (ibid.).
Despite the fact that Lopes Graia did not aim at carrying out scholarly
research on TPM, but rather manipulating some of its musical material
in his compositions, he has contributed significantly to the documentation
and study of TPM. He was one of the few Portuguese composers who
actively fought for the preservation and scientific investigation of a
tradition which he feels is indispensable to Portugal's future.
During the 1950s, a valuable contribution to the study of some aspects
of TPM was also made by V. Pereira and Rebelo Bonito. Their
collaboration resulted in a thorough documentation and systematic
comparative analysis of a rich musical corpus from various parts of
Portugal, hitherto unprecedented in TPM research. Pereira was a music
teacher and choral director in the cities of Porto and Covilha. Starting
with the late 1940s and for more than a decade, he compiled hundreds
of musical items from Douro Litoral, Minho, Tras-os-Montes and the
Beiras. In several of his publications (e.g., -D-1950, 1957 and 1959),
Pereira drew upon researchers from other disciplines who contributed to
his cancioneiros with substantial chapters on history, local ethnography,
and philosophy. A thorough comparative musical analysis of a large part

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
of his corpus was carried out by Rebelo Bonito, an engineer and

musicologist. Rebelo Bonito systematically compared selected genres from
Pereira's corpus (canC6es de embalar and canticos de natividade) to their
parallels in other parts of Portugal and Spain cancoes de embalar),
proposing a typology of musical themes for each genre. He also examined
the possible links of the polyphonic vocal genres cantas and cramois to
the medieval gymel and fabourdon. Although some of Rebelo Bonito's
conclusions tend to be speculative, his and Pereira's research undoubtedly
represents an unprecedented attempt within Portugal at documenting and
systematically analyzing a large corpus of TPM, using a comparative
method, ultimately aiming at clarifying TPM's nature and origins.
In the 1950s and 1960s, Jorge and Margot Dias included TPM within
the myriad domains of Portuguese and African ethnography they
investigated. Jorge Dias' activities as researcher, founder and director of
research institutions, and professor, mark a new era in the development
of anthropology as a scientific discipline in Portugal. He carried out field
work in Portugal and Mozambique mostly in collaboration with his wife
Margot Dias, whose musical training enabled the inclusion of music in
his major ethnographic studies as well as the investigation of several aspects
of TPM. His field research in Portugal focused on the study of agricultural
apparatus and their geographic distribution (1953 and 1959), as well as
on the communitarian villages, Vilarinho da Furna (-Mi-1948/1981) and
Rio de Onor (-T- 1953/1981). In Mozambique, he and Margot Dias carried
out an extensive ethnographic study of the Macondes (1964, Dias and Dias
1964 and 1970, Dias, M. 1986).
Jorge Dias' anthropological research represents a continuity of interests
within Portuguese ethnology going back to the nineteenth century (Freitas
Branco 1986:82). He also explored new research areas and introduced the
functionalist method, while at the same time using historical and
geographical explanations for the interpretation of synchronic data.
Dias' ethnographies of Vilarinho da Furna (-Mi- Dias 1948/1981) and
Rio de Onor (-T- 1953/1981) include chapters by Margot Dias on music
and, in the case of Rio de Onor, dance and musical instruments.
Unfortunately, during their field work, the Dias' did not have access to
a tape recorder, which leaves us with the musical transcription as the only
form of documentation. The representativeness of the sample transcribed
(24 songs from Vilarinho da Furna and 41 songs from Rio de Onor) is
difficult to evaluate. In the ethnography of Vilarinho, "authenticity" seems
to be the main criterion for selection. Some songs which the authors heard
in Vilarinho were left out because they were ". . . too well known as
'cantigas da moda' (fashionable songs) from which there is no escape even
in the solitude of the mountain" (-Mi- 1948/1981:235).
The Dias' discuss some of the uses of music in the two communitarian
villages investigated. In addition, they compare the sample collected with
the repertoire of other locales with which they are familiar, and published
materials. J. Dias attributes the differences in the musical lives of the
villages studied to the impact of their different geographic environments,

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
"... in our mountains there is mu

in the open lands with large hor
The Dias' devote two articles to th
practice of the encomendacao das
a vocal repertoire associated with t
Lent in various parts of Portugal an
by Portuguese immigrants (Dias
J. Dias discusses the diffusion of
to Hawai, where it is known as t
construction, uses and the ways it
1963). Finally, he provides us with
change in Portugal (1969b and 19
"folklore" and "folklorismus", whic
which emerged in the 1930s as a
of "folklore", partly provoked b
"folklorismus" in Portugal is reflec
and dance ensembles, and other i
and dissemination of "folk culture"
be studied within the framework
During the 1960s, Veiga de Oliv
Foundation, collected and investi
Portugal, publishing a thorough
edition (1966/1982b). Gulbenkian
Lisbon's Ethnology Museum an
investigators.
In his book (1966/1982b), Veiga
of Portuguese instruments inc
distribution, combination into e
culture, music, and musical instrum
the following bipartite division o
1) The Northwestern coastal reg
an area traditionally open to outsid
predominance of chordophones,
(small guitar), rabeca (violin), gui
the violao (a large guitar).
2) The Northeastern interior area
Beiras and up to the Alentejo: an
there is a prevalence of "archaic"
de foles (bagpipes), pandeiro/adufe
and flauta (flute)" (Veiga de Oliv
de Oliveira, although Algarve is
characteristics justify its inclusion
shortcomings of this and similar st
book provides a wealth of informat
for all those interested in studyi
To close, this period is character
researchers. Yet, there was a need f
assume the sponsorship and orienta

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expressed in the following proposals made at the First Confere

Folklore and Ethnology, Braga, 1956: a) the founding of a central scie
institution to orient and coordinate TPM research; b) the inclusio
discipline of folklore in teachers colleges and universities; c) the scien
collaboration with Spain, Brazil and overseas colonies (Lope
1963:75-83 and Rodrigues 1963:357-362).
3.3 Traditional Portuguese Musical Research: 1974-Present

The 1974 revolution which toppled the prevous regime, bro
democracy and decolonization to Portugal. It had an impact on
aspects of social and cultural life. In anthropology, there has be
substantial increase in university offerings on both the undergradua
graduate levels (Areia 1986). The founding of the musicology departm
at the Universidade Nova de Lisboa (UNL) in 1981, represents a tu
point in the history of musicology in Portugal. For the first time in
country's recent history, the scientific study of music, including eth
musicology, was integrated within the university system. Since 1982,
El-Shawan Castelo-Branco (Ph.D. Columbia University, formerly assist
professor at New York University) has joined UNL, restructuring eth
musicology offerings at this university in line with recent developm
in the field. Within the framework of the current ethnomusicology co
at the UNL, several student research projects have been carried out u
professor Castelo-Branco's orientation, focusing on problems of c
and urban musical processes, new areas of study within Portugal
Aresta and Gomes 1986; Borges and Miranda 1987; Cardoso 1986;
Cymbron and Ivo Cruz 1986; Giga and Gaio 1986; -B- Carvalho and
Oliveira 1987; Correia and Neves 1987). It is also significant to note that
three Portuguese UNL graduates are presently enrolled at Columbia
University's (New York) graduate program in ethnomusicology.
Following the 25th of April revolution, most TPM research continued
to focus primarily on the rural traditions of specific regions (e.g., -T-
Mourinho 1984 and 1987). Interestingly, a few researchers have attempted
to introduce a sociological approach to the study of TPM in specific regions
(e.g., -A- Bettencourt da Camara 1984; -Alt- Nazare 1984).
Among many musical phenomena worthy of study, partly reflecting
the impact of the 25th of April revolution on musical life in Portugal, the
Grupos de Recolha e Divulgacao de Misica Popular Portuguesa (literally,
Ensembles for Collecting and Disseminating Portuguese Folk Music) have
called the attention of a few researchers. These ensembles consist of young
urbanites, mostly university students who collected and performed, in cities
and towns, traditional music from rural areas or new music inspired thereof
(Castelo-Branco, Correia and Neves 1986:205 and Correia and Neves
1987). The full impact of these "folk" music revival ensembles, on the
musical life of both rural and urban areas, has not yet been investigated.

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4. The Study of Traditional Mus
Continental Portugal has been

(provincias) corresponding to geogr
defined areas (map 1). Administrat
into districts (distritos), each with
into municipalities (concelhos). Som
than one district (e.g., Beira Litora
(e.g., Algarve).
These provincial and administr
used by many TPM researchers as boundaries. A few researchers
attempting to cover the country as a whole have also used the provincial
divisions to organize their materials (e.g., Gallop 1960; Lega 1942).
We will briefly characterize publications on TPM focusing on specific
provinces, areas or genres therein. Looking at publications on TPM as
a whole, it is clear that research coverage is highly uneven. For example,
while there is a relative abundance of publications on the music of Douro
Litoral, Tras-os-Montes, Baixo Alentejo, and Beira Baixa, research on the
music of Algarve, Estremadura, Ribatejo, Alto Alentejo, and Beira Alta
is scarce. Several factors can help explain this uneven coverage. First of
all, researchers were interested in examining "archaic" practices which
tended to survive in more isolated areas such as Tras-os-Montes, Baixo
Alentejo, and Beira Baixa. Secondly, provinces which were influenced by
urban areas or by tourism (e.g., Estremadura and Beira Litoral, Algarve)
were usually avoided. Thirdly, provinces in which local organizations were
active were more extensively investigated (e.g., Douro Litoral). Fourthly,
the competition organized by the regime known as "Estado Novo"
(1926-1959) in 1938, which aimed at selecting and classifying a number
of villages according to the extent to which they preserved traditions
(Concurso da Aldeia Mais Portuguesa, literally, competition of the most
Portuguese of all villages) tended to stimulate research before and after
the competition itself (e.g., some of the research on the village of Monsanto
in Beira Baixa which won the competition).
Azores Archipelago
The oral traditions of the Azores archipelago, their continental origins,

distinctive Azorian identity, and variant insular forms have concerned
researchers since the mid-19th century. Theofilo Braga, a native of the
Azores, pioneered the compilation and study of the texts of Azorian
romances and cantos (-A- Braga 1869). On the other hand, the prominent
Azorian composer and conductor Francisco Lacerda (1869-1934) began
collecting Azorian traditional music in 1899 (Borba and Lopes Graga
1956-1958). However, with the exception of a harmonized cancioneiro (-
A- 1935), his writings on Azorian traditional music remained largely
unpublished. A posthumous multi-volume collection of Lacerda's writings
was compiled and edited by Teresa and J.M. Bettencourt da Camara and
is presently in press.

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An important contribution to the documentation of Azorian trad

music was made by the composer and pedagogue Artur Santos
(1914-1987), a founding member of IFMC. Sponsored by the Junta Geral
do Distrito Aut6nomo de Angra do Heroismo and the Instituto Cultural
de Ponta Delgada, he carried out field research in the islands of Terceira,
S. Miguel and Santa Maria from 1952 to 1960. Part of his field recordings
was published during the 1960s by the Instituto Cultural de Ponta Delgada
and the Junta Geral do Distrito Aut6nomo de Angra do Heroismo. His
unpublished materials are deposited in the Instituto Acoriano de Cultura
of Angra do Heroismo.
Extant publications on Azorian traditional music primarily deal with:
Festas do Espirito Santo (literally, Feasts of the Holy Spirit), Romanceiro
and Cancioneiro, Despiques (competitive improvisation of sung poetry),
dance song forms, music in the romarias (pilgrimages) of S. Miguel island,
and musical instruments. The Festas do Espirito Santo (FES), a complex
of sacred/secular rituals common to all islands, were brought from the
continent by the first Portuguese settlers. Despiques, music, and dance
are important components in the FES, considered by many researchers
to be the most Azorian of all cultural manifestations. FES' rituals, their
insular variants, continental origins, and complex terminology have been
described with varying degrees of detail (e.g., -A- Bettencourt da Camara
1984:41-44; -A- Cabral 1983; -A- Camacho 1964; -A- C6rtes-Rodrigues
1927; -A- F.J. Dias 1981:51-64; -A- Lima 1932; -A- Lopes 1980; -A-
Pavao 1981:112-123; -A- Sim6es 1987). However, a thorough analysis
of the role of music in FES has not yet been carried out.
The Azorian cancioneiro and romanceiro has been compiled and studied
primarily from its literary point of view (e.g., -A- Braga 1869; -A- C6rtes-
Rodrigues 1982 and 1987; -A- Costa Fontes 1983; -A- Pavao 1981; -A-
Purcell 1970). As in most studies on Azorian culture, there has been a
concern with these genres' continental origins and insular variants. Only
a few publications include musical transcriptions. (e.g., -A- Bettencourt
da Camara 1980; -A- Costa Fontes 1983; -A- Fraga 1963). Moreover,
little or no analysis of the music product and of music/text relationships
has been carried out.
An interesting analysis of despiques is provided in Bettencourt da
Camara (-A- 1984). He deals with textual themes, musical characteristics,
performers' requisites and status, audiences' role, as well as this genre's
social functions. In addition, Martins (-A- 1984) examines the biographies
of seven despique improvisers/singers from the island of Terceira and
analyzes some of their poetry. Bettencourt da Camara (-A- 1984) also
succinctly describes the romarias of S. Miguel and compares continental
and Azorian romarias (ibid.).
Some of the rich and varied Azorian dance-song forms are characterized
in: (-A-) Andrade 1957 and 1960; (-A-) Bettencourt da Camara 1980;
(-A-) F.J. Dias 1981; (-A-) Drummond 1955; (-A-) Fraga 1963; and (-
A-) Pavao 1981. Finally, Azorian instruments, their origin, geographic
distribution, construction, tuning, playing techniques, and uses are

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described in: (-A-) F.J. Dias 198

Veiga de Oliveira 1986.
The impact of massive Azoria
especially since the late nineteent
and on the receiving communitie
by researchers (e.g., Costa Font
of the dynamic processes result
to the understanding of the pr
the Azores and abroad.
Alto Alentejo and Baixo Alentejo

Some aspects of the polyphonic male a cappella choral tradition of Baixo
Alentejo, locally known as cante alentejano (literally, Alentejo's singing
have been investigated by "local erudites" (e.g., -Al- Delgado and Marva
and an ethnomusicologist trained in France (-Al- Nazare). Other musica
traditions of B. Alentejo have only been sporadically described (e.g.,
-Al- Breyner 1900 and -Al- Gama 1954). Several articles characterizing
aspects of B. Alentejo's musical life at the turn of the century were
published in a local ethnographic journal, which is now available in a
facsimile edition (-Al- A Tradi?ao 1899-1904/1982). With few exception
(e.g., -Al- Abelho 1981 and -Al- Bustarret 1987), little or no research
has been carried out on the musical traditions of Alto Alentejo.
Marvao's numerous publications on the cante alentejano (e.g., -Al-
1955, 1966, 1970) primarily include musical transcriptions, a classification
of the repertoire known as modas using musical structure as the mai
criterion, and a discussion of this tradition's possible origins. Withou
providing the necessary documentation, Marvao proposes that the cant
alentejano can be traced back to fifteenth-century "classical polyphony
which was introduced through a local convent built in the city of Serp
in the fifteenth century (-Al- Marvio 1963b:150).
Nazard documents the cante alentejano in several publications (-Al-
1979, 1984, 1986). His seminal contribution is the description, analysis
and interpretation of some aspects of change in the modas, a welcom
departure from previous research which primarily treats the modas as stati
products (-Al- Nazare 1984). He also documents through musical
transcriptions 122 modas which he recorded in the summers of 1966, 1967,
and 1968-a collection which is held in the Archives of the Departement
d'Ethnomusicologie of the Mused des Arts et Traditions Populaires, Paris
(1966), Laboratoire de l'Institut de Musicologie de la Faculte des Lettres
et Sciences Humaines, Paris, (1967), and the Archive de Departement
d'Ethnomusicologie du Mused de l'Homme (1968).
Finally, the musical processes resulting from the migration of large
numbers of Alentejanos to the industrial belt of Lisbon and Setubal during
the 1960s and 1970s, including the formation of urban groups, change in
rural traditions, and the creation of a new repertoire both by rural and
urban groups, is being presently investigated by Salwa El-Shawan
Castelo-Branco.

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Beira Baixa
The musical traditions of Beira Baixa, one of the most conservative

provinces of Central Eastern Portugal, has attracted researchers since the
late nineteenth century. Interestingly, the first study on a single region
of Portugal focused on Beira (-B- Thomas 1896).
Research on Beira Baixa's traditions was marked by Jaime Lopes Dias
monumental eleven volume ethnographic study describing many aspec
of local life, including material culture, beliefs, customs, oral literature,
and folk theatre (1926-1971). He offers harmonized transcriptions of severa
vocal genres and dance songs in volumes II and IV (1927/1964 and
1937/1971), justifying his choice by the need to assure their wide
dissemination. Despite their limitations, some of the data provided in Lopes
Dias' ethnography can be useful as a reference point for future research.
The survival of what are considered "archaic" traditions in the village
of Monsanto and its victory in the "Concurso da Aldeia Mais Portuguesa"
in 1938 stimulated several studies (-B- Buesco 1984; -B- Carvalho and
Oliveira 1987; -B- Joyce 1939; -B- SNI n.d. [1947]). To date, Buesco's
ethnographic and philological study is the most scientifically oriented
monograph on Monsanto. Her careful linguistic analysis of archaisms in
Portuguese as spoken in Monsanto and her phonetic transcriptions of
romanceiro and cancioneiro texts can provide a useful basis for future
ethnomusicological research, especially on music/text relationships.
Carvalho and Oliveira's (-B- 1987) study focusing on change in
Monsanto's musical traditions provides a new outlook on an area which
has attracted researchers primarily for its conservativism.
Finally, the modal character and rhythmic flexibility characterizing some
of Beira Baixa's musical repertoire, first brought to light through the
transcriptions of Serrano in 1921, attracted composers and researchers
(e.g., Lopes Graca and Artur Santos). Many were particularly concerned
with the origin of Beiran modality which they attributed to medieval, Arab
and Greek sources (Lopes Grala 1959e:21). Rodney Gallop attempted to
explain the survival of model practices in Beira by proposing that the use
of the adufe as an accompaniment to singing, to the exclusion of the
guitarra, which penetrated the coastal areas of Portugal, allowed for the
tonal flexibility necessary for the continuity of modal practices (Gallop
1960:34-35).
Douro Litoral
The music of Douro Litoral is perhaps the most thoroughly investigate

of all of Portugal's provinces due to the research of V. Pereira and Rebel
Bonito, which was sponsored by the Comissao de Etnografia e Hist6r
of the Junta da Provincia do Douro Litoral. Pereira attempted an
exhaustive documentation, primarily through musical transcription, of the
music of the municipalities of CinfIes (-D- 1950), Rezende (-D- 1957)
and Arouca (-D- 1959). Each of his transcriptions is accompanied by
information on the locale, date of collection, and informant, basic data
which to our knowledge researchers hitherto had omitted. In addition,

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
he includes chapters on the ethn

municipalities in question.
Three vocal genres predomina
(lullabys), canc6es de Nativid
desafio (song contests). In additio
of the polyphonic vocal genre
Bonito's analysis of part of Pe
In sum, Pereira and Rebelo B
Pereira's hitherto unpublished
Department of the Instituto P
an excellent point of departure
Madeira Archipelago
Few studies have been publis
Madeira. Carlos M. Santos, a local figure who contributed to the
dissemination of Madeiran music by founding several traditional music
ensembles in the 1930s, provides useful information on Madeiran
instruments as well as the characteristics and possible origins of its dances
and vocal genres (-Ma- 1937 and 1942).
The monumental two volume monograph entitled Ilhas do Zargo
(Islands of Zargo) by Eduardo C.N. Pereira (-Ma- 1967/1968) is the most
extensive publication on this archipelago's history, geography, and culture.
Several aspects of music are dealt with in volume II (pp. 588-638). In
particular, E.C.N. Pereira thoroughly discusses the uses and origins of
vocal genres and dances and provides numerous transcriptions. He also
describes Madeiran musical instruments and their continental origins.
Several questions concerning the continental, African and Moroccan roots
of Madeiran traditional music and instruments, as well as its diffusion
through immigration to Brazil and North America, are raised by E.C.N.
Pereira's research and remain open for future investigation.
Minho
Research on the music of Minho, the Northwestern region of Portugal

bordering with Galiza (Spain), is comparatively meager. Gonlalo
Sampaio's Cancioneiro Minhoto, in its third edition (-Mi- 1986), including
five analytical essays and 290 musical transcriptions of several vocal genres,
is the most significant study published to date. A good part of the repertoire
transcribed consists of polyphonic vocal genres known as modas de terno
which are similar to the cantas and cramois found in Douro Litoral.
G. Sampaio is concerned with the origins of this polyphonic genre which
he interprets as a survival of early fabourdon. V. Pereira describes
same polyphonic technique in Germs, (Minho) (-Mi- Pereira, V.:195
In addition, the cantigas de aboiar, found in Minho, Madeira and Bra
and characterized by their melismatic structure, rhythmic flexibility, a
final cadence on the dominant, have also been examined by seve
researchers as survivals of earlier practices (-Mi- Faria 1950: 159-1
-Mi- Sampaio 1986: XXXIV-XXXIX).

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The need for comparative research on the musical traditions of M

and Galiza (Spain), has been pointed out by several researchers (e.g.,
de Lima -Mi- 1934 and 1947), a task which, however, has only
sporadically carried out.
Tras-os-Montes
Many scholars have considered Tras-os-Montes as a repository of

"archaic" cultural traditions. With respect to music, this conception is
reflected in the focus on genres thought to be of earlier origin, in particular
Romanceiro (Balladry) (-T- Caufriez 1979, 1980, 1986, 1988; -T- Costa
Fontes 1987; -T- Martins 1928: 178-238, 141-153 and 1938: 1-64; -T-
Mourinho 1984: 97-187; -T- Schindler 1941) and the Dancas de Paulitos
(stick dances) (-T- Mourinho 1984: 449-518).
The dancas de paulitos are thoroughly researched by Mourinho (1984),
a "local erudite" from Miranda do Douro who has contributed not only
to the study of this area's culture, but also to the continuity of its traditions
through his activities as founder of the Grupo Folcl6rico Mirandes de Duas
Igrejas (Os Pauliteiros de Miranda). His thorough discussion of these
dances' origins, history, nature, musical characteristics, organization,
instruments and costumes provides a useful point of departure for future
research (-T- Mourinho 1984: 449-518).
Tras-os-Montes has conserved much of European balladry while
developing a distinctive tradition, in part stemming from its particular
geographic position bordering with Spain and relatively isolated from the
rest of Portugal. Recent research by Caufriez and Costa Fontes provides
some interesting data. Using an interdisciplinary approach, Caufriez deals
with the musical components of the romances emphasizing their interaction
with their social, cultural and historical contexts. In addition, she notes
the use of romances in the accompaniment of harvesting and its insertion
within the temporal organization of the day, coinciding with the canonic
hours, a phenomenon which was initially observed by Martins in 1928
(-T- Martins 1928: X).
Costa Fontes' monumental study (1987) provides the texts of 3324
romances and other genres of traditional poetry. Most of the repertory
collected was recited. Of the 300 poems sung, only 38 romances are
transcribed by Israel Katz. In addition to the collection itself, the preface
by Armistead and Silvermann, the compiler's introduction, the indices
and bibliography provide indispensable information on ballad research
as well as Transmontanian balladry and its relationships to its pan-
European counterparts. This thorough scientific study of Transmontanian
Romances provides ethnomusicologists with an excellent point of departure
for future research.
5. Conclusions
A multiplicity of Portuguese and Portuguese-influenced

traditions thrive in present day Portugal, in many parts of Af
and South America marked by Portuguese influence, and in ot

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
of Europe and the Americas. Rese

only recently begun.'2 Many trad
Despite Portugal's isolation from the main developments in
ethnomusicology until very recently, a local tradition of research on rural
musics has emerged. Since the late nineteenth century, researchers from
a variety of disciplines, stimulated by the urge of salvaging what they
viewed as a "lost world" of "authentic" and "archaic" traditions,
documented and investigated traditional music covering parts of rural
Portugal. Many materials have been published, some of which can serve
as a point of departure for future research, or as reference points for studies
on change.
In-depth ethnomusicological research needs to be carried out in Portugal,
examining music as a dynamic process and the ways in which it is
integrated within its social and cultural contexts. Moreover, inter-
disciplinary research, involving ethnomusicology, anthropology,
linguistics, and dance anthropology is indispensable for the investigation
of many aspects of traditional Portuguese music. Furthermore, cooperation
between Portuguese scholars and institutions and their counterparts in
Spain and Brazil is needed for the investigation of many common
traditions.
Myriad research questions need to be explored both in areas on which
there has been some investigation and in new domains. For example, with
respect to the romanceiro on which there has been considerable literary
research, the following questions pertaining to music need to be addressed:
why are certain romances recited while others are sung? What is the nature
of romances' melodies? How do they relate to the musical traditions of
which they are a part? What is the relationship between text structure and
music structure? What are the implications of the use of various languages
(e.g., Portuguese, Castillian and the Mirandes dialect in Miranda do
Douro, Tras-os-Montes) on melodic structure? Are the multiple
connections of the Lusitanian romanceiro to pan-European balladry,
clearly evident in its texts, also reflected in music? Is the internal diffusion
of the Portuguese romanceiro reflected in music?
Many new research problems await investigation. For instance: What
changes have taken place in rural musical traditions? how? why? What
are the musical implications of the seasonal migration of rural workers
within Portugal which has taken place until very recently? What is the
impact of rural-urban migration on the musical life both of the rural
communities of origin and on the new urban communities? How has
temporary or long-term immigration from continental and insular Portugal
to other parts of Europe, Brazil, and North America affected the musical
life of both the home and immigrant communities? What are the possible
musical consequences of the return of close to a million Portuguese and
Africans from Portugal's colonies following decolonization in 1975? What
are the consequences of tourism, an important economic activity in many
parts of Portugal, on the traditional music of the areas involved? What
is the impact of the media on the musical life of rural and urban areas?
What are the relationships between Portuguese and Spanish traditions,

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especially along the border areas? What is the nature of urban

traditions in Portugal?
To close, ethnomusicology in Portugal is at a turning point. Unive
training has been available since 1981 and many young peop
interested in carrying out field work. We are hopeful that the next
years will see the expansion of ethnomusicology as an area of sc
research, as well as the substantial increase in ethnomusicological
investigation of Portuguese and Portuguese-influenced musical traditions.
NOTES
1. "In Search of a Lost World" is an English translation of the title of an article by

Portuguese ethnologist Ernesto Veiga de Oliveira (1982a) eloquently expressing
of the main goals which stimulated research on traditional Portuguese music.
2. We are grateful to a number of individuals who considerably facilitated our task, len
us copies of rare publications and providing valuable suggestions. Our special thank
to Idalete Giga of the Musicology Department of the Instituto Portugues do Patrim6
Cultural for her generous help. We are also grateful to Joao de Pina Cabral, Joaqu
Pais de Brito, Teodoro de Matos, Mario Vieira de Carvalho, Margot Dias, Ferna
Lopes GraCa, Mariana Lamas Pimentel, Joao Soeiro de Carvalho, Maria de Sao J
de Carvalho, Suzana Sardo, and Luisa Cymbron.
3. "Local erudites"--often priests, army officers, or school teachers-are self-taug
enthusiasts of their local traditions who have often contributed with valuable research.
4. The bibliography lists significant publications on TPM. It is divided into two major
sections: General Bibliography and Bibliography on the Traditional Music of Portugal's
Provinces (BTMPP). The General Bibliography primarily lists publications on traditional
music, or aspects thereof, throughout Portugal, and commentaries on, or accounts of,
the history and present state in Portugal of musicology, anthropology, folk literature,
and traditional music research. The BTMPP is organized alphabetically according to
province. For the geographic location of Portugal's provinces, see map in appendix
1. All references are made according to YTM's norms to which several diacritics are
added. An * following the date of publication indicates the inclusion of musical
transcriptions. ** indicate that the publication in question contains predominantly
musical transcriptions. When significant, the dates of both first and last editions are
included, and are differentiated with a /. However, the full bibliographic citation and
references to page numbers within the text refer to the second edition. Pe. following
an author's name is an abbreviation for padre (= priest). References to BTMPP within
the text, cite the author's name preceded by an abbreviation of the name of the province
in which the publication in question is listed. For example (-A- Bettencourt da Camara
1986), indicates that this publication is listed in the section of BTMPP on the Azores
Archipelago. The following abbreviations of province names are used.
-A- Azores Archipelago -D- Douro Litoral
-Al- Alto and Baixo Alentejo -Ma- Madeira
-B- Beira Baixa and Beira Alta -Mi- Minho
-T- Tris-os-Montes
Provinces on which little or no research has been done are not listed.
5. Authors' names are cited according to Portuguese convention. Thus, often last names
are composite as in the case of Lopes GraCa and Freitas Branco.
6. There was also a sporadic interest in urban vendors' street cries (pregies) (e.g., Chaves
1955; -Al- Gama 1954; -D- Rebelo Bonito 1963; Sampaio Ribeiro 1965). Finally,
research on traditional dance in Portugal has been meager. Several significant
publications on specific dances are listed in the bibliography. In addition, a brief survey
of Portuguese traditional dances and their origins has been recently published (Ribas
1983).
7. Part of Leite Vasconcelos' work, including his Romanceiro and Cancioneiro, was
posthumously published.

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8. Translations from Portuguese to Eng

9. A new edition of this dictionary is b
Mario Vieira de Carvalho. In addition,
dictionary (1900) is being prepared unde
will include several entries on traditio
10. The inclusion of a 1981 publication b
in this discussion is justified by the fac
presented during the period examined
11. Veiga de Oliveria's scheme is inspire
of Portugal-based on geographic and
influences-into: 1) the Mediterranean S
of the Tagus river); 3) the Northeast fo
its openness to outside influences (Rib
12. Several excellent papers on Portugue
from Africa, Asia and Brazil were pre
"Cross Cultural Processes in Music: Th
the XVth Century" which was held at
Lisbon (December 15-19, 1986). A bi-ling
this ICTM Colloquium will be published
in preparation).

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
APPENDIX I
MINHO
TRAS - OS - MONTES
DOURO
LITORAL
BEIRA ALTA
BIRA BAIXA
ti~ ~P
RI BATEJO
BAIXO kALENTEIJO
kLGARVE
CONTINENTAL PORTUGAL

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
ARQUIPILAGO DA MADEIRA Porte Santo
COOo A AAROUIPELAGO DOS ACORES

nFlores
.aJorge XTerceira
Faial < 7pi 6?z S. Miouo,
OCEANO 4TLANT111 formigas SIa Maria dS
INSULAR PORTUGAL

107.15.64.252 on Wed, 11 Oct 2023 21:39:23 +00:00
GENERAL BIBLIOGRAPHY
Alegria, J.A.
1984* "Sobre a Origem da Canoao Popular Portuguesa." In Col6quio sobre M
Popular Portuguesa: Comunica6oes e Conclus6es. Lisboa: Instituto Nacion
para Aproveitamento dos Tempos Livres dos Trabalhadores.
Almeida, Renato
1963 "M6sica Folcl6rica e M6sica Popular." In Actas do Primeiro Cong
de Etnografia e Folclore. (Vol. 1). Lisboa: Biblioteca Social e Corporati
Areia, Manuel L. Rodrigues de
1984/86 "A Investigaiao e o Ensino da Antropologia em Portugal ap6s o 2
Abril." Revista Critica de Ciancias Sociais 18/19/20: 139-52.
Aresta, Paula, and Bernardo de Azevedo Gomes
1986 "O Hot Club de Portugal: Uma Instituiiao Socio-Musical Lisboeta."
AssociaCao Portuguesa de Educa?eo Musical. Boletim 48: 51-52.
Arroyo, Ant6nio
1913 "Sobre as Canq6es Populares Portuguesas e o Modo de Fazer a sua Colheta."
In Pedro Fernandes Thomas, Velhas CanCaes e Romances Populares
Portugueses. Coimbra: Typographia Franca Amado.
Borba, Tomas, and Fernando Lopes Graqa
1956-1958 Dicionirio de Mtrsica. Lisboa: Edi6aes Cosmos.
Borges, Maria Jose, and Zelia Miranda
1987 "0 Culto Religioso Judaico: Alguns Aspectos da Actual Pratica Musical
da Comunidade Lisboeta." Associa(5o Portuguesa de Educacao Musical.
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CasteloBranco InSearchLost 1988

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"In Search of a Lost World": An Overview of Documentation and Research on the

Traditional Music of Portugal

Stable URL: https://www.jstor.org/stable/768172

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by Salwa El-Shawan Castelo-Branco

Ethnomusicology as an academic discipline was introduced to

2. Local Concepts of Traditional Music

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The prominent composer and

3. An Historical Overview Of Documentation and Research on

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investigators and calling attention to the importance of collectin

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26), a conception which was echoed in many subsequent public

3.2 The Rise of Traditional Portuguese Music Research

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the diffusion of musical elem

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inspiration as well as some of his basic compositional material, integ

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is informed by his interests as a

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of his corpus was carried out by Rebelo Bonito, an engineer and

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"... in our mountains there is mu

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expressed in the following proposals made at the First Confere

3.3 Traditional Portuguese Musical Research: 1974-Present

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4. The Study of Traditional Mus

Continental Portugal has been

The oral traditions of the Azores archipelago, their continental origins,

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An important contribution to the documentation of Azorian trad

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described in: (-A-) F.J. Dias 198

Alto Alentejo and Baixo Alentejo

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The musical traditions of Beira Baixa, one of the most conservative

The music of Douro Litoral is perhaps the most thoroughly investigate

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he includes chapters on the ethn

Research on the music of Minho, the Northwestern region of Portugal

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The need for comparative research on the musical traditions of M

Many scholars have considered Tras-os-Montes as a repository of

A multiplicity of Portuguese and Portuguese-influenced

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of Europe and the Americas. Rese

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especially along the border areas? What is the nature of urban

1. "In Search of a Lost World" is an English translation of the title of an article by

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8. Translations from Portuguese to Eng

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ARQUIPILAGO DA MADEIRA Porte Santo

COOo A AAROUIPELAGO DOS ACORES

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1967 "The Academic Position of European Ethnology in Portugal." Ethnologia

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