CALL FOR PAPERS - v. 36, n. 1 (jan. - mar. 2026) DOSSIER: Musical-literary relations in the brazilian repertoire
CALL FOR PAPERS - v. 36, n. 1 (jan. - mar. 2026) DOSSIER: Musical-literary relations in the brazilian repertoire
CHAMADA ALETRIA - v. 37, n. 1 (jan. - mar. 2026)
Organizers:
Andressa Nathanaildes (UFES)
Cecília Nazaré de Lima (UFMG)
Solange Ribeiro de Oliveira (UFMG)
Thaïs Flores Nogueira Diniz (UFMG)
Deadline for submission of proposals: June 24, 2026
MUSICAL-LITERARY RELATIONS IN THE BRAZILIAN REPERTOIRE
The transits and connections between Music and Literature, understood as distinct conceptual domains, frequently intersect, making the comparison between literary texts and musical compositions a provoking and promising topic of investigation. Among the reasons for the approximations established between music and literature is the fact that both develop over time and have sound as their material basis. The richness of their fields allows for numerous forms of interaction, both in artistic creation and in the apprehension of its meanings, which, consequently, take place in different types of approaches and methodologies of analysis. Even so, the three forms of interdisciplinarity in these areas of knowledge, as presented by educator Steven Paul Scher (1936–2004), seem to us to be a consistent basis that allows us to delimit and group research in this area more satisfactorily. In the first case, literature AND music, music and literature merge their musical and poetic texts to create the new product (e.g., song); in the second case, literature In music, the predominant media is music which, with its codes, can suggest, evoke, imitate and reproduce, among others, formal and structural characteristics of literature (e.g., symphonic poem); in the third case, literature is the dominant media, which exclusively with its codes will have this function of evoking, suggesting, reproducing characteristics of musical art (e.g., Jazz poetry).
These and other connections and musical interpretative processes brought about by works characterized as ekphrases (Siglind Bruhn), transcreations (Haroldo de Campos) and exchanges lead us to symbolic exchanges and possibilities of performance.
The differential that we intend to give to this call is the repertoire focused on national products, produced by Brazilian artists, without, however, delimitation of themes, genres, styles or eras represented by the authors or works researched. In the universe of song, for example, we expect to receive reflections from the field of popular music, chamber music, and also from the fusion of the two. In literature, we intend to bring together the research that highlights not only the already established Brazilian authors who used music in its expressive forms, whether in prose or poetry, such as Machado de Assis, Manuel Bandeira, Mário Quintana, but also new names and the particular ways in which they used music in their writings. Regarding the expression of literature in music, we intend to highlight the analyses and reflections on Brazilian instrumental pieces that were inspired by literary texts, focusing on the ways found by composers to refer to these literary texts through their own musical codes.
Thus, by proposing for this volume the congregation of studies that discuss products, processes, methodologies and concepts in the field of interdisciplinarity between literature and music based on literary and musical products produced exclusively by Brazilian artists, we will take an important step in the organization of a vast national repertoire that will serve as a subsidy for future research in this area.
