Em cada casa pandeyro e gayta em cada palheyro

Fontes e modelos para a representação de instrumentos musicais populares na pintura quinhentista em Portugal

Research output: Contribution to journalArticle

Abstract

The work of surveying, study and national dissemination of hundreds of music images in fifteenth and sixteenth century in portuguese retables, and others with connections to Portugal, not only in living and record paintings but also those that little or nothing were written, allowed us to bring together a corpus of aerophones and percussion instruments (idiophones and membranophones), namely, música alta. What information do the images of Portuguese Renaissance Paintings that were collected and analyzed in situ bring us ? Which musical instruments are represented there ? Which are the sources used to represent the musical aspects on paintings ? Are these representations of daily musical life ? Through this problematic, we will try to dig the past, defining him, mapping him, using Musical Iconography-Iconology as methodology for the study of History of Painting and History of Music in Portugal.
Original languagePortuguese
JournalARTIS: Revista de História da Arte e Ciências do Património
Publication statusAccepted/In press - 2017

Keywords

  • Iconolography-Iconology
  • Renaissance (s).
  • Organology
  • Painting

Cite this

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title = "Em cada casa pandeyro e gayta em cada palheyro: Fontes e modelos para a representa{\cc}{\~a}o de instrumentos musicais populares na pintura quinhentista em Portugal",
abstract = "The work of surveying, study and national dissemination of hundreds of music images in fifteenth and sixteenth century in portuguese retables, and others with connections to Portugal, not only in living and record paintings but also those that little or nothing were written, allowed us to bring together a corpus of aerophones and percussion instruments (idiophones and membranophones), namely, m{\'u}sica alta. What information do the images of Portuguese Renaissance Paintings that were collected and analyzed in situ bring us ? Which musical instruments are represented there ? Which are the sources used to represent the musical aspects on paintings ? Are these representations of daily musical life ? Through this problematic, we will try to dig the past, defining him, mapping him, using Musical Iconography-Iconology as methodology for the study of History of Painting and History of Music in Portugal.",
keywords = "Iconolography-Iconology, Renaissance (s)., Organology, Painting",
author = "S{\'o}nia Duarte",
note = "info:eu-repo/grantAgreement/FCT/5876/147237/PT# UID/EAT/00693/2013",
year = "2017",
language = "Portuguese",
journal = "ARTIS: Revista de Hist{\'o}ria da Arte e Ci{\^e}ncias do Patrim{\'o}nio",
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AB - The work of surveying, study and national dissemination of hundreds of music images in fifteenth and sixteenth century in portuguese retables, and others with connections to Portugal, not only in living and record paintings but also those that little or nothing were written, allowed us to bring together a corpus of aerophones and percussion instruments (idiophones and membranophones), namely, música alta. What information do the images of Portuguese Renaissance Paintings that were collected and analyzed in situ bring us ? Which musical instruments are represented there ? Which are the sources used to represent the musical aspects on paintings ? Are these representations of daily musical life ? Through this problematic, we will try to dig the past, defining him, mapping him, using Musical Iconography-Iconology as methodology for the study of History of Painting and History of Music in Portugal.

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