Aesthetic Perspectives in 18th and 19th-Century Music: The Musical Genres of the Repertoire of Baroque and Classical-Romantic Guitar.

• Grant number: 24/06302-3
• Support Opportunities: Scholarships in Brazil - Doctorate
• Start date: April 01, 2025
• End date: July 31, 2028
• Field of knowledge: Linguistics, Literature and Arts - Arts - Music
• Principal Investigator: Mário Rodrigues Videira Junior
• Grantee: Leandro da Conceição Gonçalves
• Host Institution: Escola de Comunicações e Artes (ECA). Universidade de São Paulo (USP). São Paulo , SP, Brazil

Abstract

This project focuses on the investigation of some concepts of musical aesthetics from the 18th and 19th centuries, as well as how these relate to the organological changes of the baroque guitar that culminated in the emergence and establishment of the classical-romantic guitar. As a methodology, we intend to use bibliographical and documentary research in different historical sources, such as music theory books, instrumental methods and composition manuals, which inform us about the aesthetic, general and specific perspectives of guitar music; in addition, a focal point will be the analysis of the repertoire composed for these instruments in the period, especially through the prism of the musical genres used, since these can reveal, in addition to purely musical and idiomatic aspects of the practice, functions and meanings of music for different societies. In this way, various works collected from digital collections will be classified according to their genre, analyzed and presented in terms of their structural characteristics (such as form and commonly used time signatures), social characteristics (such as places of publication, performance and purpose) and, when possible, stylistic characteristics (in terms of variations of the same genre in different places or times).We believe that through this work we will be able to understand, from different and new perspectives, the transition and establishment of the classical-romantic guitar in the 19th century, as well as bringing to discussion works that are still unknown in the Brazilian academic sphere, seeking to provide foundations for interpretative decisions, within the scope of the so-called historically informed performance.