Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-24T13:12:11Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-24T16:47:39Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-24T17:31:21Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-27T11:40:49Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-27T12:31:51Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-27T13:03:16Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-27T18:08:08Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-28T12:13:08Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-28T14:22:47Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-28T14:31:57Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-28T14:37:45Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-28T19:04:28Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-11-30T18:58:21Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-12-04T14:43:23Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Submitted by ANTONIO CARLOS DOS SANTOS (antoniosantos.santos@bol.com.br) on 2017-12-05T14:11:15Z No. of bitstreams: 1 Tese SANTOS, A.C. Músicas e conflitos no bispado de São Paulo.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Approved for entry into archive by Telma Jaqueline Dias Silveira null (telmasbl@marilia.unesp.br) on 2017-12-05T18:47:21Z (GMT) No. of bitstreams: 1 santos_ac_dr_mar.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) / Made available in DSpace on 2017-12-05T18:47:21Z (GMT). No. of bitstreams: 1 santos_ac_dr_mar.pdf: 3645912 bytes, checksum: 2dd0a0b4f290b2f19944f4999c1dd0d0 (MD5) Previous issue date: 2017-08-31 / Não recebi financiamento / Este trabalho objetivou estudar as relações de conflitos na prática musical dos séculos XVIII e XIX, vividas, sobretudo, a partir da formação do bispado (1745) na cidade de São Paulo. Estruturou-se, para tanto, mediante a exploração meticulosa de vasta documentação avulsa, cartas, ofícios e estatutos que forneceram grande quantidade de informações sobre a prática e os conflitos na música, não obstante a presença de novos atores, como mulheres, negros e seus descendentes exercendo a prática musical no cotidiano da cidade. A fundação do bispado na cidade de São Paulo provocou transformações perceptíveis ‒ seja pela construção da Catedral da Sé, seja pela estruturação do culto religioso segundo os preceitos estabelecidos no Concílio de Trento, que se espelhavam no modelo da Sé de Lisboa ‒, desse modo, fortalecendo o padroado conservador representado por Dom Frei Manuel da Ressurreição, o terceiro bispo da Sé (1772-1789). O jogo de poderes eclesiástico e civil, ora unindo-se para realizar e decidir em favor dos seus interesses, ora buscando alternativas para exercer controle sobre a prática da “música de violinos”, representaram algumas das rupturas e desordens no meio musical em tela. / This work aims at studying the conflictive relations in the musical practice of the eighteenth and nineteenth centuries, mainly those that emergedafter the formation of the bishopric (1745) in the city of São Paulo. It is structured through the meticulous exploration of vast documentation, letters, statutes, which provided a great deal of information about the practice and conflicts in music, despite the presence of new actors such as women, Black people and their descendants practicing music in the daily life of the city. The foundation of the bishopric in the city of São Paulo provoked noticeable transformations, such as the construction of the Sé Cathedral, as well as the structuring of religious worship according to the precepts established at the Council of Trent and following the model of the Lisbon Cathedral, strengthening the Conservative patron, represented by Don Friar Manuel da Ressurreição, the third bishop of the Sé Cathedral in São Paulo (1772-1789). The struggle between ecclesiastical and civil powers, sometimes uniting to create and decide in favor of their interests, sometimes seeking alternatives to exercise control over the practice of "violin music", represented some of the ruptures and disorders in the musical environment.

Manuel Arenzana was the last chapel master of the Cathedral of Puebla from 1791 to 1821. Arenzana composed sacred music for the Cathedral of Mexico, as well as operas for the Coliseo Theater in Mexico City. Missa à 4 Compuesta a Grande Orquesta in D Major was composed for double choir and big orchestra, which included viola, clarinets and bassoon. This work is a scholarly edition of previously unedited manuscripts and it is collocated with two late copies located in Oaxaca. Also, the actas capitulares from the Cathedral of Puebla, during the period when Arenzana worked as chapel master (1791-1821), and the documents from the Archivo General de Indias revealed new biographic data, which is confronted with a review of the existing biography. Additionally, the music catalogue in New Spain is included with the repertoire of the archives of Cathedrals from Puebla, Morelia, and Oaxaca, two parishes, and the Basílica de Santa María de Guadalupe.