Academic literature on the topic 'Portuguese Songbooks'

<p>O presente artigo pretende analisar a cantiga “Digades filha mha filha velida”, de Pero Meogo (<em>Cancioneiro da Biblioteca Nacional </em>1192 e <em>Cancioneiro da Biblioteca Vaticana </em>797), que faz parte dos cancioneiros dos trovadores galego-portugueses medievais. O poema será analisado em conformidade com as outras cantigas de Pero Meogo, buscando-se os elementos eróticos e sugestivos, e evidenciando as possibilidades teatrais e performáticas nele contidas.</p> <p>The present paper aims at analyzing Pero Meogo’s song “Digades filha mha filha velida” (<em>Cancioneiro da Biblioteca Nacional </em>1192 and <em>Cancioneiro da Biblioteca Vaticana </em>797), which makes part of the medieval Galician- Portuguese troubadour songbooks. The poem will be analyzed according to Pero Meogo’s other songs, by searching the erotic and suggestive elements and by demonstrating the performance and theatrical possibilities contained in it.</p>

AbstractGalician-Portuguese troubadours were able to bring their compositions to a close by means of one or a series of fiindas. The fiinda can be understood as a conclusive sequence, shorter than a cobra or stanza, which is harmoniously integrated into the composition in terms of both form and content. The principles governing the textual arrangement of the various Galician-Portuguese manuscript songbooks (the medieval A, fragmentary and unfinished, and the Italian apographs B and V of the humanist period) are of considerable help in identifying these final segments in texts where they are present. However, vicissitudes in the transmission of some compositions with fiindas have occasionally led to a blurring or obscuring of these sequences, which in turn may have been an obstacle to the correct perception and identification of the textual structure of fiindas by editors of these texts.