While this dissertation examines these issues in the context of the history of the instrument and its players in Portugal and Brazil, a substantial section of the dissertation deals with the origins, development, and transmission of the repertory, isolating some particular Portuguese features from more general characteristics of musical forms and dance-types. Moreover, part of their content seems to fit into a gray area between art music and the music of oral traditions. These extremely varied sources illustrate in a remarkable way the musical interactions between Portugal, other European countries, and Iberian colonies. Three codices of music in tablature for the viola (five-course guitar) are about all that remains from the seventeenth- to mid-eighteenth century Portuguese repertory for that instrument.
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