Resgates e abandonos do passado na prática musical litúrgica católica no Brasil entre os pontificados de Pio X e Bento XVI (1903-2013)
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Data
2016-03-14
Autores
Duarte, Fernando Lacerda Simões [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa foi estruturada a partir de três problemas: por que os resgates do passado e determinados esquecimentos intencionais que ocorreram na Igreja Católica, no Brasil, entre 1903 e 2013 foram eficientes para sua manutenção? O repertório musical composto e/ou executado no Brasil neste período contribuiu para este processo ou o refletiu? Quais os limites da eficiência deste processo? A fim de respondê-los, recorreu-se à legislação eclesiástica sobre música sacra, publicações e decisões de organismos eclesiásticos especializados no tema, além de fontes musicais recolhidas a diversos acervos. Foi realizada pesquisa de campo em cerca de quinhentas instituições, com pesquisa de fontes em mais de cento e setenta delas. Os dados obtidos foram analisados a partir dos referenciais de memória, esquecimento, tradição e identidade coletiva em Joël Candau, Jacques Le Goff, Pierre Nora, Michael Pollak, dentre outros, e recorrendo às teorias de sistemas sociais complexos em Niklas Luhmann e Walter Buckley – com a adaptação dos tipos weberianos de controle à abordagem sistêmica por este último. Na primeira metade do século XX, a restauração musical católica e a Romanização determinaram uma clara passagem do tipo weberiano tradicional ao racionallegal, implicando uma adequação de ferramentas analíticas: ao invés de modelos pré- composicionais, faz mais sentido pensar o repertório produzido neste período a partir da noção de controle normativo – que se estendeu a aspectos composicionais, interpretativos e relacionais. Com o Concílio Vaticano II, as relações de controle se modificaram, bem como as metas musicais do sistema religioso. Na América Latina, a partir da década de 1970, um discurso dualista em relação ao passado pretendeu o esquecimento das práticas musicais pré- conciliares, buscando inspiração na música popular e em memórias do catolicismo tradicional, e ensejando o desenvolvimento de um repertório brasileiro, associado à canção de protesto. Com João Paulo II e Bento XVI, estas metas musicais passaram por um refreamento, decorrente da política adotada por estes pontífices em relação à Teologia da Libertação. Com isto, outras memórias foram resgatadas com vistas à ênfase do Concílio Vaticano II enquanto continuidade. Os resultados da tese apontam para a coerência entre as memórias musicais resgatadas por especialistas e acadêmicos e os discursos que determinaram as metas do sistema religioso como um todo, enquanto fator de legitimação destas metas. Esta adequação legitimou as metas musicais por meio da tradição e revelou a eficiência do processo. Por outro lado, foi possível observar os limites deste controle: memórias musicais locais, a manutenção de identidades coletivas e de manifestações religiosas tradicionais, necessidades práticas, memórias afetivas, interesses políticos (identidade nacional), econômicos, e principalmente, a capacidade de negociação dos indivíduos e grupos locais em relação às metas do sistema religioso.
This research builds upon three issues: why the restoration of the past and certain intentional forgetfulness that occurred in Catholic Church in Brazil between 1903 and 2013 were efficient for its maintenance? The musical repertoire composed and/or performed in Brazil in this period contributed for this process or reflected it? Which limits the effectiveness of this process? To answer them, resorted to ecclesiastic legislation on sacred music, publications and decisions from ecclesiastic agencies specialized on the subject, as well musical sources preserved in several collections. Field work was conducted in approximately five hundred institutions, with research of sources in more than one hundred and seventy of them. Data were analyzed from the benchmarks of memory, forgetfulness and collective identity in Joël Candau, Jacques Le Goff, Pierre Nora, Michael Pollak, and others, and through the theory of the complex social systems in Niklas Luhmann and Walter Buckley – with the adaptation of Weberian types of control to the systemic approach by the later. In the first half of the twentieth century, the Catholic Musical Restoration and the Romanization determined a clear passage from the traditional Weberian type to the rational-legal, implying an adaptation of analytical tools: instead of pre-compositional models, it makes more sense to think the repertoire produced in this period from the normative control notion – that extended the compositional, interpretative and relational aspects. With Second Vatican Council, the control relationships were changed as well as the musical targets of the religious system. In Latin America, from the 1970s, a dualist discourse over the past meant the forgetfulness of the precounciliar musical practices, seeking inspiration in popular music and traditional Catholicism memories, and allowing for the development of a Brazilian repertoire, associated to the protest song. With John Paul II and Benedict XVI, these musical targets were diminished, due to the policy adopted by these pontiffs in relation to Liberation Theology. In this way, other memories were restored to emphasize the Second Vatican Council as continuity. The thesis results point to the coherency between the musical memories restored by specialists and academics and the discourses that determined the targets of whole religious system, as a factor of legitimation of these targets. This adequateness legitimized musical targets by tradition and revealed the process efficiency. On the other hand, the limits of the control were observed: musical memories, maintenances of collective identities and traditional religious manifestations, practical needs, emotional memories, political (national identity) and economical interests, and above all, the ability trading of individuals and local groups in relation to the targets of the religious system.
This research builds upon three issues: why the restoration of the past and certain intentional forgetfulness that occurred in Catholic Church in Brazil between 1903 and 2013 were efficient for its maintenance? The musical repertoire composed and/or performed in Brazil in this period contributed for this process or reflected it? Which limits the effectiveness of this process? To answer them, resorted to ecclesiastic legislation on sacred music, publications and decisions from ecclesiastic agencies specialized on the subject, as well musical sources preserved in several collections. Field work was conducted in approximately five hundred institutions, with research of sources in more than one hundred and seventy of them. Data were analyzed from the benchmarks of memory, forgetfulness and collective identity in Joël Candau, Jacques Le Goff, Pierre Nora, Michael Pollak, and others, and through the theory of the complex social systems in Niklas Luhmann and Walter Buckley – with the adaptation of Weberian types of control to the systemic approach by the later. In the first half of the twentieth century, the Catholic Musical Restoration and the Romanization determined a clear passage from the traditional Weberian type to the rational-legal, implying an adaptation of analytical tools: instead of pre-compositional models, it makes more sense to think the repertoire produced in this period from the normative control notion – that extended the compositional, interpretative and relational aspects. With Second Vatican Council, the control relationships were changed as well as the musical targets of the religious system. In Latin America, from the 1970s, a dualist discourse over the past meant the forgetfulness of the precounciliar musical practices, seeking inspiration in popular music and traditional Catholicism memories, and allowing for the development of a Brazilian repertoire, associated to the protest song. With John Paul II and Benedict XVI, these musical targets were diminished, due to the policy adopted by these pontiffs in relation to Liberation Theology. In this way, other memories were restored to emphasize the Second Vatican Council as continuity. The thesis results point to the coherency between the musical memories restored by specialists and academics and the discourses that determined the targets of whole religious system, as a factor of legitimation of these targets. This adequateness legitimized musical targets by tradition and revealed the process efficiency. On the other hand, the limits of the control were observed: musical memories, maintenances of collective identities and traditional religious manifestations, practical needs, emotional memories, political (national identity) and economical interests, and above all, the ability trading of individuals and local groups in relation to the targets of the religious system.
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Palavras-chave
Música litúrgica – Igreja Católica., Romanização, Restauração musical católica, Concílio Vaticano II, Memória, identidade e esquecimento, Liturgical music – Catholic Church, Romanization and catholic musical restoration, Second Vatican Council, Memory, identity and forgetfullness