Antônio Madureira and Brazilian Art Song: A Collection of Six Songs for Voice and Guitar
Armorial Movement; Antônio Madureira; Brazilian art song; artistic research; Northeastern Brazilian music.
This article examines a set of six songs by Antônio Madureira, originally composed for voice and guitar and later adapted for voice and piano, situating the work within the context of the Armorial Movement and the tradition of Brazilian art song. The study aims to analyze the aesthetic and musical elements that characterize these songs, particularly the incorporation of elements from Northeastern Brazilian traditional music in their melodic, harmonic, and rhythmic structures. It also seeks to examine the relationship between the work and the aesthetic principles of the Armorial Movement, as well as its contribution to the expansion of the Brazilian chamber vocal repertoire. The research adopts a qualitative approach grounded in artistic research, in which interpretative practice constitutes a central mode of knowledge production. The methodology combines musicological analysis of the scores, a review of the literature on the Armorial Movement and Brazilian art song, and the consideration of recordings and interviews with the composer. The analytical perspective is informed by the framework proposed by Carol Kimball for the study of art song, emphasizing the relationship between poetry and music. The results indicate that Madureira’s songs embody Armorial principles through the integration of modality, characteristic Northeastern rhythmic patterns, and an expressive treatment of the poetic text, reaffirming Brazilian art song as a significant space for the expression of national cultural identity.