Journal of Brazilian Erudite Vocal Music
Published in Belo Horizonte (MG, Brazil), by the School of Music of the Federal University of Minas Gerais, the Revista de Música Vocal Erudita Brasileira has an international scope and a continuous flow, with peer review. Created in 2023, the journal is dedicated to publishing unpublished articles in Portuguese, English and Spanish, as well as reviews, translations, interviews and scores on Brazilian chamber songs, operas and choral compositions.
Tibungue Zererê (1938), lullaby for voice and piano by Ziná Coelho Júnior
This study examines the lullaby genre in Brazilian art song, focusing on the manuscript of Tibungue Zererê for voice and piano, composed by Ziná Coelho Júnior (1907-1987), a harpist from Minas Gerais who devoted herself to composing art songs as well as works for other musical ensembles. The corpus of this research includes data on the historical context of the song’s production, a reflection on the meaning of the title term, and the preparation of a performance edition of the score. As a reference for the proposed edition, the authors relied on Figueiredo (2017). The main goal is to contribute to the dissemination and publication of Ziná Coelho Júnior’s works, which are currently preserved by one of the authors, Professor Marcelo Corrêa.
Toada das águas verdes [Song of the green Waters] by Babi de Oliveira (1908–1993)
This article presents a study of the Art song Toada das águas verdes by Babi de Oliveira (1908-1993), composed with verses by Tarquínio Lopes (1912-1983). We conducted a brief analysis focused on its structure and the intrinsic relationship between text and music, accompanied by the creation of a Performance Edition – EdiP (BORÉM, 2018) produced from a manuscript located in the Hermelindo Castelo Branco Score Collection – APHeCaB. Our work aims to promote this Art song, whose relevance is manifested both by the quality of its poetic-musical writing and by the expansion of the repertoire for low voices within the context of Brazilian Art Song.
Toada das águas verdes [Song of the green Waters]
Berceuse for soprano voice and piano, by George Marinuzzi (1901-1993)
This article presents data on the personal and artistic trajectory of George Marinuzzi, highlighting relevant data on his musical activity. From his collection of compositions, we have chosen Berceuse, an Art song composed and dedicated to Maria Lúcia Godoy (1924-2025), from Minas Gerais, Brazil. In addition to discussing the composer's musical language, we also provide a practical edition of the song based on the guidelines outlined by Figueiredo (2017) in his work Música sacra e religiosa brasileira dos séculos XVIII e XIX - teorias e práticas editoriais. We aim to encourage academic research and performances that contribute to the dissemination of the names of the composer, the performer, and the Brazilian Art song.
Interview With Maria de Fátima de Brito About the Life and Work of Brazilian Composer Oswaldo de Souza
Interview conducted by Dr. John Kennedy Pereira de Castro with Professor Maria de Fátima de Brito (1939-2018) about the life and work of Brazilian composer Oswaldo de Souza (1904-1995), native of the state of Rio Grande do Norte. Professor of the Bachelor of Singing Program at the Universidade Federal de Alagoas [Federal University of Alagoas] (UFAL) and interpreter of Oswaldo de Souza's work, Maria Fátima de Brito gave this interview between June 1st and 5th, 2009, at her residence in Maceió, Alagoas. Through the voice of Fátima de Brito, we bring an important pedagogical and interpretative testimony, experienced by the interviewee for over 50 years, about our Brazilian art song, as well as pertinent insights into Brazilian lyrical singing
The Manuscript of the opera Tiradentes by Manoel Joaquim de Macedo Júnior (1845-1925)
Our research includes a study of the autograph manuscript copy of the opera Tiradentes by Manoel Joaquim de Macedo Júnior (1845-1925) with a libretto by Antônio Augusto de Lima (1859-1934). We also present the work's trajectory from Macedo's death to the present day in the 21st century, as well as the preservation and physical characteristics of the material and the composer's textual and musical writing. We hope to add another work representative of our history and culture to Brazilian musicology.
Copyright (c) 2025 Journal of Brazilian Erudite Vocal Music
Iara (2024) for voice and piano, based on poetic text by Davi Lopes
This paper discusses the Brazilian art song Iara, by composer Hermes Coelho, conductor and professor at the Federal University of Amazonas. The legend of this mermaid, based on Amazonian folklore, is portrayed here by the young writer Davi Lopes, who creates abstractions about a fisherman who is enchanted by her seductive song. The text presents a brief description of the piece, explaining its form and compositional structure, with the aim of contributing to its performance. An edition of the score is attached as an annex.
Interview with Marília de Albuquerque Salgado about Lia Salgado's artistic career
Interview conducted by Dr. Patrícia Valadão (UFMG) with Marília Salgado, daughter of Lia Salgado (1914-1980), about the artistic career of her mother, a prominent soprano soloist on the national lyrical scene, whose performance on stage spanned the decades of 1940 to 1980. Attentive to the preservation of historical data about the artist, in actions such as the launch of a CD and the implementation of a collection containing various records of Lia Salgado, Marília Salgado recorded information in this interview that allows the reader to understand the historical context of the period in which Lia Salgado performed leading roles in repertoire operas. Her account confirms the artist's relevance in the development and promotion of Brazilian music in Brazil and abroad, by performing in world premieres, whether in the opera or chamber music, with special emphasis on her partnership with the composer Camargo Guarnieri (1907-1993).
The Centenary of Maria Lucia Godoy (1924)
This text provides biographical information about Maria Lúcia Godoy, a soloist from Minas Gerais who has achieved international fame and is recognized for her performances in recitals and audio recordings of the Art song genre. Her artistic career also encompasses literature, with the artist having published children's books and maintained a weekly column as a columnist for over a decade in the newspaper Estado de Minas. An honorary doctorate from UFMG, Maria Lúcia Godoy turned 100 in 2024, having worked professionally for seven decades. The information in this work was based on the Master's dissertation from SABETI (2020), and celebrates the artist's centenary as a standard-bearer of Brazilian art song.
An edition of Canção de ninar by Babi de Oliveira (1908-1993) based on historical data and comparison of three handwritten copies
This work discusses the Berceuse genre in Brazilian Art Song, and focuses on the manuscript of Canção de ninar [Lullaby], composed by Babi de Oliveira (1908-1993) as an example of Brazilian Art Song focused on this genre. Since it is a score available only in manuscript copies present in the Acervo de Partituras Hermelindo Castelo Branco - APHeCaB [Hermelindo Castelo Branco Score Collection – APHeCaB] and in the personal collection of researcher Vânia Alvim, the authors of this text produced an edition of the score, based on the work of FIGUEIREDO (2017). The objective of this study is to contribute to the dissemination of the work of Babi de Oliveira, as well as to the Berceuse genre in Brazilian Art Song.
Tempus oblitum, tempus recordatus: the professional career of Ziná Coelho Júnior (1907-1987) and her work in Brazilian art song
This work presents data on the professional career of Ambrosina Coelho Júnior (1907-1987), a multi-talented artist who was recognized at the time she performed as Ziná Coelho Júnior. A harpist, pianist, conductor, teacher of orpheonic singing and composer, she was associated with the Minas Gerais Conservatory of Music, now the UFMG School of Music, as a student and later as a teacher. A figure of feminist emancipation in Brazil, she worked with the João Pessoa Women's Battalion, graduated in pharmacy and later in law. Her legacy as a composer includes around 100 compositions, of which 31 songs are for voice and piano. This study, carried out based on access to the collection of Ziná Coelho Júnior, aims to contribute to the dissemination of the name of this artist, whose work in various areas contributed to the development of concert music in Minas Gerais in the 20th century.
The Cantata Yerushalaim Nevé Shalom by Almeida Prado: Aspects of the Interplay Between Text and Music
This article presents an analytical approach to Almeida Prado's Cantata Yerushalaim: Nevé Shalom, with a special focus on the interplay between text and music. It examines various elements of the compositional language, such as timbre, harmony, texture, rhythm, and meter, showcasing the integration of biblical texts with contemporary techniques in a work that transitions between the composer’s postmodern and synthesis phases. Considering the cantata's importance for understanding Almeida Prado’s poetics and the scarcity of studies on his symphonic-religious output, this text aims to contribute to a broader understanding of his extensive and multifaceted work within the Brazilian musical landscape.
The present paper, part of a doctoral research defended at the State University of Campinas - UNICAMP, which focused on the critical edition of the score of the opera A Moreninha by composer Ernst Mahle, presents biographical data about the composer and his operatic production. To carry out the investigation, documents were collected from Mahle's personal collection and from the collection of the Piracicaba School of Music, in São Paulo, Brazil.
Text-music relationships based on the libretto by Augusto de Lima (1859-1934) in the composition of the character Marília from the opera Tiradentes by Manoel Joaquim de Macedo Júnior (1845- 1925)
The opera Tiradentes, by Manoel Joaquim de Macedo Júnior (1845-1925), was composed based on the libretto by writer and politician Antônio Augusto de Lima (1859-1934). The orchestral lyrical drama, organized in four acts and 31 characters, deals with the Inconfidência Mineira movement that occurred between the years 1789 and 1792. Our text provides brief information about Lima's libretto and its relationship with Macedo's musical writing in construction of the character Marília.
Copyright (c) 2024 Journal of Brazilian Erudite Vocal Music
Three songs by three women – Survival, Portrait and There are those who pass by Achille Picchi
The present text preludes the premiere of the Cycle Três canções de três mulheres – Sobrevivência, Retrato e Tem os que passam by Achille Picchi (1952-2024) in the Revista de Música Vocal Erudita Brasileira in its second edition. The composer set poems by poets Helena Kolody (1912-2004), Cecília Meirelles (1901-1964) and Alice Ruiz (1946) to music for singing and piano training using the musical language of post-tonalism. At the end of the text, we present the autograph manuscript and the first edition of the score written by Elias Magalhães.
This work presents biographical data and testimonies from artists who knew Veruschka Mainhard, a flutist, pianist, and singer who was a professor at the Federal University of Rio de Janeiro (UFRJ), who passed away in March 2024. She had a PhD in Music from the Federal University of the State of Rio de Janeiro (UNIRIO). At the time of her death, she was an adjunct professor at the UFRJ School of Music, teaching singing and diction in the undergraduate program, and as a professor/advisor at PROMUS (Professional Master&#39;s Program in Music) in the graduate program. Her activities as a musician also included vocal coaching for the Sacra Vox Ensemble. She developed a fruitful career as a solo singer in operas, oratorios, and cantatas in Brazil and in countries such as Germany, the Netherlands, and the United States. A defender of Brazilian Art Song, part of her work as a soprano is recorded in videos and audio recordings. The testimonies that fill this text illustrate the charisma with which Weruschka Mainhard won over everyone who came into contact with her.
Interview carried out by Dra. Poliana Alves (UFU) with bass-baritone Licio Bruno, doctoral candidate at Programa de Pós-Graduação em Música (PPGMUS–UFMG). Considerations about his dynamics as a soloist in operas, symphonic concerts, Art Song recitals and, also, about his teaching at the Faculdade de Música do Espírito Santo – FAMES and at Coletivo das Artes show us how fruitful his trajectory has been as one of the most respected national soloists . His notes on vocal technique, plus information on the dynamics of work in theaters, whether in opera premieres or chamber recitals, constitute a solid incentive for young students of operatic singing.
Stylistic Diversity in the Choral Works of Carlos Alberto Pinto Fonseca (1933-2006)
The central focus of the present paper is the portion of the work of Minas Gerais composer Carlos Alberto Pinto Fonseca (1933-2006), originally composed for adult choirs. The objective is to present a survey of all the compositions of the genre and also highlight the stylistic diversity that characterizes this repertoire. Initially we present elements involved in the investigation and data about the composer and his choral work. Next, we present a reflection on compositional eclecticism in the composer’s production and, subsequently, we present the entire repertoire studied, divided into groups according to the nature of the text used by him, as well as peculiarities of the structure of the works.
Intelligibility Assessment of Sung Portuguese in a Brazilian Art Song
This study investigated the perception of intelligibility of the text sung in Portuguese by instrument player musicians and non-musicians. 40 individuals participated, 20 instrument player musicians and 20 non-musicians who listened to an excerpt of a Brazilian Art song performed by two sopranos, and were instructed to transcribe the text, assess the level of understanding and describe the positive and negative points of the performance. It was concluded that singer 2 was the most intelligible and that the intelligibility of the sung text is influenced by musical writing, interpretation and vocal technique.
Scenic-musical Study And Edition Of The Overture, Introduction Chorus Of The First Act, Grand Scene And Finale Of The Grand Scene Of The operetta A Princesa do Catete, By Euclides Fonseca (1854-1929)
This work is about an excerpt of the chamber operetta A Princesa do Catete [The Princess of Catete] by Euclides Fonseca (1854-1929), composed based on the libretto created by Carneiro Vilela (1846-1913), more specifically about the Overture and its first three numbers. Data about the genesis of this work and a scenic organization proposed by this author are the main questions that structure this research. This work is completed by the presentation of a Performance Edition of its score, followed by a critical apparatus that points out questions and solutions arising from the observation of the score, autograph manuscript, belonging to the Instituto Ricardo Brennand – IRB, located in Recife, PE.
The work for voice and piano by Almeida Prado
The present work is part of a broad investigation into Almeida Prado's compositional tools in works for baritone and piano. This is an illustrated and contextualized review that addresses the composer's entire work for voice and piano based on several authors who studied his legacy, especially that intended for chamber vocal music. The objective of this work is to publicize this repertoire that is still little known to the concert music public. To carry out this work, a bibliographic and documentary survey was carried out on the topic, starting from Almeida Prado's entire vocal work, up to the works composed for baritone and piano.
This article presents Vitória, 5th song of the set Cantares – Six Songs for Voice And Piano, by José Maria Neves. The set is object of research of the authors doctorate thesis in the Postgraduate Program of the Federal University of Minas Gerais – UFMG, in Music Performance. The aim of the research is to understand its compositional process specially through the music-text relations and its implications for artistic practice, using the theoretical framework of the Russian philosopher Mikhail Bakhtin, particularly the concept of Dialogism, aiming at its performance and promotion.
This article presents a description of the investigative process developed during research on the composer Ernani Braga and an excerpt from his work written as a chamber song for voice and piano, as an account of the procedures carried out when collecting information about the context in which it was composed, aiming to its understanding, performance and dissemination. To offer an epistemological contribution, I relied on authors such as Nattiez, Braga and Travassos, concluding the importance of contextualization for the construction and improvement of musical performance.
Celina Garcia Delmonaco Tarragò Grovermann
“Sanctus”, “Benedictus” and “Agnus Dei” from Missa da Paz by Almeida Prado
Missa da Paz, from 1965, was composed by Almeida Prado at a time of transition in his compositional practice and of liturgical renewal of the Catholic Church. The objectives of the work are: to contextualize the creation of this work; and carry out musical analysis of the movements “Sanctus”, “Benedictus” and “Agnus Dei”. The analysis methodology used was the structural analysis, highlighting the movement structural elements. As a final result, we noticed the mixture of pre-tonal elements with post-tonal elements.
"Tristeza", Brazilian Art Song from the Album 'Les nuits brésiliennes' by José Amat
The Brazilian Art song Tristeza, for voice and piano, is part of the album Les nuits brésiliennes by composer José Amat, and was covered in the thesis As 22 canções em língua portuguesa de José Amat do álbum Les nuits brésiliennes: uma visão interpretativa. From the only available source, under the care of the Brazilian National Library, in Rio de Janeiro, the authors of this study present data about the composer, the author of the poetic text and the poem, its musical structure and, also, performance reports.
Copyright (c) 2023 Journal of Brazilian Erudite Vocal Music
This text provides biographical information about Amin Feres, who stood out as a bass soloist and also as a singing teacher. Born in Ressaquinha, MG, Amin Feres joined Madrigal Renascentista choir before continuing his singing studies in Germany, where he was under the guidance of Margarethe von Winterfeldt. Later, he was a contract artist at Columbia, having performed in several countries, in opera productions and symphonic concerts. Information about his career, including titles of works he performed, recordings and tributes received summarize the corpus of this document, whose objective is to celebrate the work developed by Amin Feres as a performer and also as a teacher.
This is an essay on the singer's craft. The objective is to discuss a whole terminology consecrated by the dictatorship of public opinion, which, in the author's opinion, harms the understanding of the nature of singing. The theoretical-methodological reference is Critical Poíesis, a new epistemology developed at USP in Ribeirão Preto. The main consideration is the inadequacy of terms such as lyrical and erudite.