History of Music in Portugal


After successfully completing this course the student should be able to:
a) Acquire a deeper knowledge of the main issues in the History of Music in Portugal;
b) Become familiar with the state of research in this field;
c) Discuss the knowledge produced by musicology regarding the History of Music in Portugal, confronting it
wherever possible with the major themes and concerns of international musicology;
d) Write a scientific text;
e) Present and defend that text orally.

General characterization





Responsible teacher

Rui Fernando Vieira Nery


Weekly - 3

Total - 280

Teaching language



Not applicable


Obras antológicas ou de carácter geral. Excluem-se as várias sínteses sobre H.M.P.
Anthological or general works. Syntheses about H.M.P. are excluded.

Artiaga, M. J. (2007). Continuity and Change in Three Decades of Portuguese Musical Life 1870-1900. Royal Holloway, U. of London. Tese de Doutoramento.
Brito, M. C. (1989). Estudos de História da Música em Portugal. Lisboa: Estampa.
Castelo-Branco, S. (Ed.) (2010). Enciclopédia da Música em Portugal no Século XX. 4 vols. Lisboa: Círculo de Leitores.
Cymbron, L. (2012). Olhares sobre a música em Portugal no século XIX. Lisboa: CESEM-Colibri.
Ferreira, M. P. (Ed.) (2007). Dez compositores portugueses. Lisboa: Dom Quixote.
Ferreira, M. P. (2008). Antologia de música em Portugal na Idade Média e no Renascimento, 2 vols. Lisboa: Arte das Musas-CESEM.
Lucas, M. E. & Nery, R. V. (Eds.) (2012). As músicas luso-brasileiras no final do Antigo Regime. Lisboa: FCG/INCM.
Nery, R. V. (Coord.) (2000). A música no Brasil colonial. Lisboa: FCG.

Teaching method

Classes combine moments of exposition with discussion of problems, texts, musical and audio-visual samples related to the syllabus. Specific bibliography will be provided for each topic, and some classes will count with the presence of invited experts, in order to familiarize the students with the latest perspectives, models and research problems. In the context of continuous evaluation students will be regularly asked to prepare various tasks to be presented in class.

Evaluation method

Assessment elements include an individually written paper (maximum 20 pp.) (50%)(50%), Oral presentation (40%)(40%), The theme of the paper will be chosen by each student, in discussion with the teacher, who will coach its development throughout. One or two classes may be reserved for the presentation of the students´ ongoing research and its discussion with their colleagues. Continuous assessment will weigh 10%.(10%)

Subject matter

1. Music in Portugal and its historiography.
2. The current research framework: issues, sources, resources and methodologies.
3. A choice of 3 themes framed within the following blocks:
3.1 From the Middle Ages to the 17th century: HispanoVisigoth,
Islamic music and FrancoRoman rite; monodic and polyphonic court genres; the spread of polyphonic practice in the cathedral churches; the Spanish period; music theory and notation.
3.2 The 18th and 19th centuries: italianisation of music life; the hegemony of the opera; the rupture occasioned by the Napoleonic wars and the liberal wars; connections to Brazil; the emergence of a Germanic taste.
3.3 From the establishment of the Republic to the present: the FrancoGerman
influence and the affirmation of the instrumental repertoire; radio; nationalistic and propagandistic strategies in the Estado Novo; Portuguese composers and the postwar avantgardes; from the establishment of democracy to globalization: structural and aesthetic change.


Programs where the course is taught: