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André Gaby


André Gaby

Professor on Music School of Federal University of Pará

André Alves Gaby is brazilian and born in Amazon. He began his music studies at the age of seven at the Carlos Gomes Conservatory, in Belém, Pará. After completing the conservatory, he joined the Bachelor of Music, qualification in piano, at the University of the State of Pará, where he finished the course in 2004.
Between 2005 and 2007 he was a temporary professor at the Federal University of Pará, teaching in the professional training course at the Escola de Música (EMUFPA) and the Licentiate Degree in Music.
In 2007 he was hired at EMUFPA as a professor of Harmony and Musical Perception.
In 2009 he completed a lato-sensu postgraduate course in Fundamentals of Creation in Music, a course focused on compositional languages ​​from the 20th and 21st centuries.
In 2010 he joined the Masters in Prepolyphony (Gregorian Chant) at the Giuseppe Verdi Conservatory in Turin, where he studied with Fulvio Rampi. He completed his course in 2012 and returned to Brazil, working in the management of EMUFPA as Teaching Coordinator and Deputy Director, between 2013 and 2018.
In 2015 he was a SANTANDER scholarship holder (Young Researchers Program) by the Academia de Bellas Artes San Fernando de Madrid with research on the Plainchant of Mercedarians from the Convent of Pará, having as responsible researcher Ismael Fernandez de la Cuesta.
He is currently a doctoral candidate at the State University of São Paulo, a course that started in 2019. His research topic continues to be the Plainchant of Mercedarians from the Convent of Pará, and his advisor is Prof. Dr. Paulo Castagna.
He is a visiting researcher at CESEM at the Grupo de Música Antiga as a fellow of the Doctoral Program Sandwich Abroad (PDSE) of the Coordination for the Improvement of Higher Education Personnel (CAPES, Brazil). The researcher responsible for hosting him at Universidade Nova de Lisboa is Prof. Dr. Manuel Pedro Ferreira.


– A pesquisa do canto gregoriano no séc. XX: implicações em sua prática interpretativa In: III Simpósio Internacional de Música na Amazônia, 2014, Manaus. Anais do 3o. Simpósio Internacional de Música na Amazônia. Manaus: Editora da Universidade Federal do Amazonas, 2014. v.1. p.327 – 340.


– Documentos para a história da prática musical dos mercedários do Convento da Natalidade do Grão-Pará In: Arqueologia Musical Amazônica.1 ed.Belém: Paka-Tatu, 2018, p. 39-58.


– O ritual mercedário do frei João da Veiga e a prática litúrgico-musical dos mercedários do convento do Pará: estado da arte In: XXIX Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música, 2019, Pelotas – RS. Caderno de Resumo e Anais do XXIX Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música. , 2019. p.1 – 10.


– O cantochão da antífona Asperges me no ritual mercedário de João da Veiga (1780): uma investigação melódico-comparativa de sua origem, a partir de cantorais mercedários, tridentinos e dominicanos. In: Congresso da Associação Nacional de Pesquisa e Pós-graduação em Música, 2020, Manaus. Anais do XXX ANPPOM. , 2020. v.XXX. p.1 – 14


Post-Doc/PhD/Master Thesis
Title Ph.D.: O Ritual Mercedário de Frei João da Veiga e sua prática litúrgico-musical: uma narrativa histórica, paleográfica e hermenêutico-interpretativa
Scholarship Reference: Programa Doutorado Sanduíche no Exterior (CAPES - Brasil)

Our doctoral research consists of a liturgical and musical study of two books who make up the set entitled – in request of royal authorization for printing – Ritual Order of Merced. According to the same document, the commander of the Order in the “city of Pará”, Friar João da Veiga, requested the printing, justifying that the volumes were for “the use of the religious from the convent” of Pará. The cover of the first volume, published in 1780, confirms the information and clarifies the authorship: the religious himself. The content of the first volume is composed of ceremonies, processions, liturgy of darkness, litanies, prayers for various needs, supplications, blessings, rubrics, antiphons of Our Lady for the complete Christmas hymns and calendas. The second volume contains communion for the sick, extreme unction, commission of souls, funerals and other funeral ceremonies, including the repertoire proper to the Requiem mass. The plainsong repertoire present in both volumes is recorded in tetragram with modern neume notation, some chants even featuring metric figures found in their contemporary plainsong treatises and manuals. Our hypothesis suggests that Friar João da Veiga would have tried to implement a liturgical reform that would replace the melodies of Mercedarian origin with those from Tridentine, learned and practiced in Portugal and Brazil through the Theatro Ecclesiastico.

Research Group:

Early Music Studies

Thematic Lines and Research Nucleuses: