Doces modinhas pra Iaiá, buliçosos lundus pra Ioiô

This dissertation examines the relations between poetry and music in the nineteenth century, as well as the poetic-musical production which results from this union.The central argument is that romantic poets took inspiration from european medievalism not only for building a national mythology (indianism) but also for the conception of an unique art form, ruled by this alliance between poetry and music in the troubadourish models.This connection went beyond the implicit musicality of that era's poetry.Some romantic poets, as troubadours, wanted to integrate both arts from poems specially written to be set to music and presented in performance venues.Thus, the partnership was born in Brazil: poets started to create lyrics and composers set them to music.The practice of blending these two artistic manifestations in only one, initiated by the troubadours, had continuity with some romantic poets, mainly those who attended the editor Paula Brito's typography, founder of the well known Sociedade Petalógica do Rossio Grande.From these meetings came several poems set to music in form of modinha or lundu examinated here in order to portray the recurrent themes, as well as images and musical metaphors existing in them.This alliance brought popularity and enthusiasm for the popular music as for the Brazilian poetry, which found in this alliance a way of diffusion that would supply the need of the scholarly public

Art · Literature · Lyrics · Musical · Musicality · Poetry · Romance · Romanticism · Spoken word · The arts · Visual arts · Historical Education and Society