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CasteloBranco InSearchLost 1988
CasteloBranco InSearchLost 1988
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to Yearbook for Traditional Music
1. Introduction
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:
Azores Archipelago
Beira Baixa
Douro Litoral
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
Tras-os-Montes
5. Conclusions
NOTES
APPENDIX I
MINHO
TRAS - OS - MONTES
DOURO
LITORAL
BEIRA ALTA
BIRA BAIXA
ti~ ~P
RI BATEJO
BAIXO kALENTEIJO
kLGARVE
CONTINENTAL PORTUGAL
.aJorge XTerceira
Faial < 7pi 6?z S. Miouo,
OCEANO 4TLANT111 formigas SIa Maria dS
INSULAR PORTUGAL
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