abstract: Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture. / Dissertation/Thesis / Seres Imaginarios 3 - Movement I - Olhapim (composed by Luis Cardoso) / Seres Imaginarios 3 - Movement II - Jana (composed by Luis Cardoso) / Seres Imaginarios 3 - Movement III - Trasgo (composed by Luis Cardoso) / Delirio Barroco - Movement I - Ouverture (composed by Tiago Derrica) / Delirio Barroco - Movement II - Fantasia (composed by Tiago Derrica) / Delirio Barroco - Movement III - Fuga (composed by Tiago Derrica) / Delirio Barroco - Movement IV - Fantasia 2 (composed by Tiago Derrica) / Delirio Barroco - Movement V - Coral (composed by Tiago Derrica) / Memoria (composed by Pedro Faria Gomes) / D.M.A. Music 2013

This dissertation aims to analyze the musico-stylistic characteristics, tendencies and trends of the farça A Saloia Namorada (1793) in the complex landscape of musical theater in the late eighteenth-century Portuguese traditions. Recent scholarship has renewed attention on eigtheenth-century Portuguese operatic genres in Portugal, works both in the serious and comic traditions, especially during the reign of Queen Maria I (1777 - 1799). This was a time when local composers absorbed a mix of influences, finding specific solutions for music and libretto structures, during financially restrictive time usually seen as conservative and not as productive for the arts as the previous decades had been. During this period Portuguese musical theater, especially the entremez, found its own textual and musical standards as ways of expression that can now be defined as a “Portuguese manner”, with structures based on the taste and characteristics of the local audiences. The music by António Leal Moreira (1758 - 1819) for A Saloia, a one-act work on a libretto by the controversial Brazilian poet Domingos Caldas Barbosa (1740 – 1800), had long been considered lost until the author of this dissertation discovered a full score and a set of parts of the work at the Library of Congress in Washington DC, USA, in November 2008. The importance of A Saloia lies in the fact that it is the only extant eighteenth-century operatic work in Portuguese that features musical recitatives instead of spoken dialogues, creating an unique hybrid work of Portuguese and Italian operatic traditions. The dissertation also provides an overview of the dramatic output of Leal Moreira, a composer who -- still not yet fairly inserted in the modern Portuguese “musical canon” -- was a key figure for the developments of Portugal’s late settecento musical environment, having worked extensively in the creation of serious court serenatas and sacred events, as well as serving director of the Lisbon opera theaters of Rua dos Condes (1790 - 92) and São Carlos (1793 - 1799), where entremezes and Italian operas were staged. / text

Le corpus du projet repose sur les Cartapácios de Coimbra, un ensemble de manuscrits du milieu du XVIIe siècle, résolument passionnants et pratiquement inédits, issus de Santa Cruz et conservés à la Bibliothèque Générale de l’Université de Coimbra. Le présent travail s’inscrit dans un projet de recherche multidisciplinaire en cours à l’Université de Coimbra (Mundos e Fundos | CECH), et se concentre sur l´un des seize manuscrits de cette collection : le manuscrit musical 51 (MM 51). Il constitue la première étude détaillée d’un cartapácio comportant également son édition critique complète. Cette étude monographique engage également une confrontation permanente avec les quinze autres cartapácios et avec son contexte spécifique portugais et ibérique.D’après notre étude philologique, le MM 51 s’avère un cahier d’usage personnel d’un musicien à l’œuvre. Il contient un répertoire très varié regroupant des œuvres sur textes latins et sur textes vernaculaires. Les propositions polyphoniques que le manuscrit offre sont multiples et variées, souvent au sein d’une même œuvre, et appartiennent à un langage typiquement ibérique. La majorité de la musique est écrite à huit voix, toujours en polychoralité et accompagnée d’un guião, avec divers contrastes produits notamment par un style concertato.Le travail est fondé sur une approche positiviste, philologique et critique, le tout enrichi par une expérimentation analytique et sensible du répertoire, grâce au laboratoire musicale de la Capella Sanctae Crucis.Notre thèse espère ainsi contribuer à enrichir les fondements d’une meilleure connaissance de l’activité musicale du XVIIe siècle portugais. / This study is based on Cartapácios de Coimbra, an ensemble of practically unstudied seventeenth century music manuscripts preserved at Coimbra’s University Library (Biblioteca Geral da Universidade de Coimbra). It is part of a multidisciplinary research project currently in progress at University of Coimbra (Mundos e Fundos | CECH). The research is concentrated on one manuscript among the sixteen that constitute this collection: musical manuscript 51 (MM 51). This study is the first ever detailed study over one cartapácio including its complete critical edition. Although focussing primarily on one cartapácio, a comparative analysis with the respect to the other fifteen cartapácios was also conducted, and located in the specific Portuguese and Iberian context.According to our philological study, the MM 51 seems to be a notebook for private use of a working musician. It contains a very diverse repertoire comprising both vernacular and Latin works. The polyphonic settings in the manuscript are multiple and varied, often within the same work, and belong to a typically Iberian language. The majority of the music is written for eight voices, always in polychorality and accompanied by a guião, with various contrasts produced in particular by a concertato style.A positivist, philological and critical approach was taken in the research, which was supplemented by an experimental performance of the repertory, thanks to the musical laboratory Capella Sanctae Crucis.It is hoped that this thesis study will substantially enrich the knowledge base of Portuguese seventeenth century musical activity.

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