Este trabalho analisa a formação de uma sensibilidade barroca em Minas Gerais a partir da orientação participativa e altamente emotiva das festas coloniais, cujo legado se mantem presente nas festas religiosas de muitas antigas cidades mineradoras do estado. Enfocando as celebrações da Semana Santa na cidade sul-mineira de Campanha, o texto mostra como este evento anual era organizado pela Irmandade do Santíssimo Sacramento, passando então às mãos de uma comissão local após a extinção da irmandade. Se até meados do século XIX, havia músicos semi-profissionais contratados para tocar e cantar nas celebrações, a música foi assumida progressivamente por grupos de amadores. Assim, a festa passou a ser entendida como uma produção local e a cada ano a população renova o seu orgulho campanhense, ao contemplar sua capacidade de produzir um evento tão 'maravilhoso'.

This paper analyses the formation of a baroque sensibility in the State of Minas Gerais (Brazil) that derives from the participatory and highly emotive orientation of the colonial festivals, the legacy of which is still present in many former mining towns in the region. By focusing upon the Holy Week celebrations in Campanha, a small town in southern Minas Gerais, the text shows how this annual event was organized by the Confraternity of the Holy Sacrament, but was then transferred to a local committee after the confraternity was made extinct. If up to the mid 19th century there were semi-professional musicians to perform for the celebrations, responsibility for the music was slowly taken over by amateur groups. In this way the festival came to be understood as a local affair, and each year the population renews its pride in itself for its capacity to stage such a 'marvelous' event.

In many peripheral nations, such as Brazil, music research was instigated by nationalist sentiments, which generated research traditions directed toward the collection of folklore and descriptive Ethnography. This contrasts with the research concerns along the Anglo-American axis, where musical Ethnographies are used to illustrate theoretical perspectives of universal validity. However, many major contributions to Ethnomusicology involve studies in which the theoretical propositions emerge out of the Ethnographic material. If this is so, peripheral nations are now in a particularly advantageous position to redefine the standards of the discipline, given their access both to the field and the latest academic debates. This paper examines how Brazilian Ethnomusicology is currently striving to transcend its nationalist heritage without compromising its commitment to the nation. The piece begins with an overview of the development of musicological research in Brazil since the late nineteenth century, looking at how the nationalist orientation was stablished and how it led to the construction of a canonical narrative defining "authentic" Brazilian music. It then looks at how the canonical narrative is being challenged, leading to the stablishment of a dynamic and mature research community.

En muchas naciones periféricas, tales como Brasil, la investigación musical fue instigada por sentimientos nacionalistas, lo que generó tradiciones de investigación dirigidas a recoger etnografías folclóricas y descriptivas. Esto contrasta con los intereses de investigación en el eje angloamericano, donde las etnografías musicales se emplean para ilustrar perspectivas teóricas de validez universal. Sin embargo, muchas contribuciones importantes a la etnomusicología comprenden estudios en los cuales las propuestas teóricas surgen del material etnográfico. Si esto es cierto, las naciones periféricas se encuentran ahora en una posición particularmente ventajosa para redefinir las normas de la disciplina, debido a su acceso al campo así como a los últimos debates académicos. En este artículo la autora estudia cómo lucha actualmente la etnomusicología brasileña por trascender su herencia nacionalista sin sacrificar su compromiso con la nación. Inicia con un panorama del desarrollo de la investigación musicológica en Brasil desde finales del siglo XIX, observando cómo se estableció la orientación nacionalista y cómo llevó a la construcción de una narrativa canónica que definió a la música brasileña "auténtica". Luego analiza cómo se impugna la narrativa canónica y cómo esto ha llevado al establecimiento de una comunidad de investigación dinámica y madura.