The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia

George Balandier in his work "Le pouvoir sur scènes" (1980) states that forms of power are represented by the spectacularization of rituals, becoming a "theatocracy" or performance of a set of behaviors that produces an idealized image of themselves, for themselves and for others...

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Main Author: Ana Guiomar Rêgo Souza
Format: Article
Language:English
Published: Escola de Música da UFMG 2019-08-01
Series:Per Musi
Subjects:
Online Access:https://periodicos.ufmg.br/index.php/permusi/article/view/5310
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author Ana Guiomar Rêgo Souza
author_facet Ana Guiomar Rêgo Souza
author_sort Ana Guiomar Rêgo Souza
collection DOAJ
description George Balandier in his work "Le pouvoir sur scènes" (1980) states that forms of power are represented by the spectacularization of rituals, becoming a "theatocracy" or performance of a set of behaviors that produces an idealized image of themselves, for themselves and for others. In the Luso-Brazilian world and in Brazil during the two imperial periods, pompous funerals were routine, becoming an ephemeris that functioned both as a fitting send-off for the deceased, but also as a representation of their power. When constructing the spectacle of death, ephemeral visual arts and music stood out. In the latter, the Requiem Masses stood out. This article examines the 1816 Requiem by Father José Maurício Nunes Garcia, composed for the funeral of Queen Dona Maria I, progenitor of Dom João VI. The objective is to situate and problematize this work as the image of death realized through sound, and its place in the performance spaces in the Johannine times.
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spelling doaj.art-d5e2a5a699be49d28338a816e0c32afc2023-08-04T18:38:25ZengEscola de Música da UFMGPer Musi1517-75992317-63772019-08-0139201912210.35699/2317-6377.2019.5310The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes GarciaAna Guiomar Rêgo Souza0https://orcid.org/0000-0001-6936-3262Federal University of Goiás, BrazilGeorge Balandier in his work "Le pouvoir sur scènes" (1980) states that forms of power are represented by the spectacularization of rituals, becoming a "theatocracy" or performance of a set of behaviors that produces an idealized image of themselves, for themselves and for others. In the Luso-Brazilian world and in Brazil during the two imperial periods, pompous funerals were routine, becoming an ephemeris that functioned both as a fitting send-off for the deceased, but also as a representation of their power. When constructing the spectacle of death, ephemeral visual arts and music stood out. In the latter, the Requiem Masses stood out. This article examines the 1816 Requiem by Father José Maurício Nunes Garcia, composed for the funeral of Queen Dona Maria I, progenitor of Dom João VI. The objective is to situate and problematize this work as the image of death realized through sound, and its place in the performance spaces in the Johannine times.https://periodicos.ufmg.br/index.php/permusi/article/view/5310spectacularization of powerfuneral pomprequiem
spellingShingle Ana Guiomar Rêgo Souza
The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
Per Musi
spectacularization of power
funeral pomp
requiem
title The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_full The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_fullStr The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_full_unstemmed The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_short The spectable of pompousity in funerals: The 1816 Requiem of José Maurício Nunes Garcia
title_sort spectable of pompousity in funerals the 1816 requiem of jose mauricio nunes garcia
topic spectacularization of power
funeral pomp
requiem
url https://periodicos.ufmg.br/index.php/permusi/article/view/5310
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