Ana Gaunt (née Sá Carvalho)
Ana Gaunt is a DPhil student at the University of Oxford, and a member of The Queen’s College, where she is supervised by Owen Rees.
She completed her undergraduate and master’s degrees in the Universidade Nova de Lisboa, the latter under the supervision of Manuel Pedro Ferreira. She was also a grant holder in the research project ‘Musical Exchanges: 1100-1650′. In this project, her cooperation focused mainly on entering manuscript data in the Portuguese Early Music Database. She is currently being funded by FCT (Fundação para a Ciência e Tecnologia). At the moment, she is preparing the book publication of her master’s dissertation, on the Arouca polyphonic codex.
On this same subject she published in the Portuguese Journal of Musicology v.2 n.1 (2015) and also wrote a chapter in the conference proceedings book Musical Exchanges (Kassel: Reichenberger, forthcoming). Since January 2015 she has regularly given papers in the international conferences from the Royal Music Association – Research Students’ Conference and also in the Medieval and Renaissance Music Conference.
She successfully completed the second of her DPhil interim examinations in March 2017.
‘The Arouca Polyphonic Codex’, Musical Exchanges (Kassel: Reichenberger, no prelo).
‘O códice polifónico de Arouca’, Revista Portuguesa de Musicologia, v. 2 n.1 (2015), 61-78.
Schulhoff: Complete Music for Violin and Piano [Notas ao cd], (Brilliant Classics, 2016).
The Arouca monastery became, especially after the first quarter of the 13th century, under the patronage of the Portuguese crown through the benefaction of D. Mafalda, one of the most important Cistercian feminine houses in Portugal. As a wealthy and renowned religious institution, music always played a fundamental role in this monastery’s liturgy. Its music books have since long caught the attention of several national and international musicologists, an interest which would reveal itself entirely justified in the discovery, by Manuel Pedro Ferreira, in 1992, of the most ancient polyphonic piece known so far in Portugal, an hymn to St. Bernard. In 1947 a choirbook was found, by Dom Mauro Fábregas, the only one in the convent’s collection containing exclusively polyphonic repertory from prominent Iberian composers of the sixteenth and seventeenth centuries. One of Morales’s Magnificats, several Alleluias, by such names as Manuel Mendes, Francisco Velez, Simão dos Anjos or João Leite de Azevedo or a parody mass over the vernacular song «O gram senhora», by a mysterious ‘Brasil’ are among its several gems. A series of marginalia notes indicating instrumental execution enrich the book still further and shed some light on the musical interpretation practices in the context of the Arouca convent. Although already partly studied, the Arouca polyphonic codex is now for the first time the object of deeper investigation and full transcription, a relevant contribution to the study of the practice of sacred polyphony in 17th century Portugal.