Lilinha Fernandes e Quincas Laranjeiras:: critérios para a edição diplomática de Andorinhas
In recent years, Brazilian guitar production before 1930 has been reevaluated based on the emergence of new sources, documents, scores and studies (LIMA (2023); PRANDO (2023; 2022); TABORDA (2021); ÁVILA ET AL (2020); HABIB (2013). Aiming to collaborate with this process, the article presents the so...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Institución: | Universidade Federal de Goiás (UFG) |
| Repositorio: | Revista Música Hodie (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistas.ufg.br:article/78509 |
| Acceso en línea: | https://revistas.ufg.br/musica/article/view/78509 |
| Access Level: | acceso abierto |
| Palabra clave: | pioneiros do violão repertório para violão edições para violão historiografia do violão violão no Rio de Janeiro |
| Sumario: | In recent years, Brazilian guitar production before 1930 has been reevaluated based on the emergence of new sources, documents, scores and studies (LIMA (2023); PRANDO (2023; 2022); TABORDA (2021); ÁVILA ET AL (2020); HABIB (2013). Aiming to collaborate with this process, the article presents the sold-out edition of Andorinhas, by Lilinha Fernandes, a piece published in the 1920s, by Casa Arthur Napoleão, in a version for piano and guitar accompaniment, the latter carried out by Joaquim Francisco dos Santos (1873-1935), known as Quincas Laranjeiras. Based on the theoretical framework of Figueiredo (2016), the text provides a historical overview of the work, surveys the available sources and highlights the criteria that guided the creation of a modern diplomatic edition, aiming to rescue it and make it available again to the guitar community, collaborating with the dissemination of the Brazilian repertoire for or with guitar from the first decades of the 20th century |
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