Ce mémoire s’intéresse à la rencontre de l’objet-chanson et du théâtre dans le cadre d’un concert de chansons. Il le fait à travers trois corps: le chant-acteur, le musicien-acteur et le «corps» musical. La visée principale de cette recherche est de dévoiler et de tester des stratégies de théâtralisation brouillant la frontière entre les genres, avec le désir de donner au concert de chansons toute l’amplitude qu’il peut prendre, voire de lui ouvrir les portes d’un nouveau langage. Pour ce faire, après avoir analysé un corpus d’œuvres au profil hybridant, nous avons cherché des pistes de réponse à nos questions de recherche dans des ouvrages dédiés à la musique contemporaine. Les hypothèses issues de cette phase de travail ont été mises à l’épreuve lors de la création du spectacle expérimental Le spectacle raté de la chanteuse écrapoutie. Le présent essai retrace donc ce processus en mettant en évidence les stratégies qui nous ont semblé les plus efficaces, tant parmi celles que nous avions formulées au départ que parmi celles qui sont nées du travail de création lui-même. En annexe, le lecteur pourra consulter nos différents outils de travail, suivre notre processus de création en images et lire la partition finale du spectacle en version simple ou commentée. Un enregistrement du spectacle est aussi disponible.

Lorsque l’on évoque la symphonie en France au milieu du XIXe siècle, on ne retient généralement que le nom de Berlioz et l’on insiste sur une désaffection du genre tant de la part des compositeurs que du public. Pourtant, malgré un recul des créations, malgré le défi posé par l’héritage beethovénien et alors même que le contexte musical favorise principalement la scène lyrique, une soixantaine de compositeurs continuent à s’intéresser au domaine exclusivement instrumental de la symphonie et assurent le maintien d’un genre entre 1830 et la génération franckiste. Au-delà de son aspect historique, cette thèse vise à cerner les caractéristiques stylistiques de tout un ensemble d’œuvres, à les situer dans l’évolution d’un genre en les analysant à la fois par rapport aux normes viennoises, aux productions contemporaines germaniques et aux avancées plus générales du langage. Après une première partie centrée sur le contexte musical qui a vu naître ces symphonies, les enjeux pédagogiques qu’elles suscitent et le rôle décisif des sociétés orchestrales, l’analyse entre au cœur des partitions dans une démarche comparative à la fois quantitative et qualitative, depuis l’agencement interne des plus petits éléments musicaux jusqu’à la réalisation de la grande forme. À travers l’observation des pratiques globales et individuelles qui concourent à une réévaluation des normes, à la refonte ponctuelle mais progressive des cadres, se dégagent l’autonomie d’un genre par rapport à son modèle germanique et la permanence d’une école symphonique française tout au long du XIXe siècle. / When one deals with the symphony in mid-19th century France only the name of Berlioz comes to mind and one emphasizes a disaffection for the genre among composers as well as audiences. However, despite fewer creations, despite the awe-inspiring Beethovenian legacy and despite the overwhelming place held by the operatic scene during those decades, some sixty composers around Hector Berlioz still devoted themselves to the purely instrumental genre and achieved the development of the symphony between 1830 and the Franckist generation. Beyond its historical relevance, this doctoral dissertation aims at defining the stylistic features of a corpus of symphonic works and at placing them in the evolution of the genre by analyzing them in relation to Viennese standards, to contemporary Germanic productions and to the more general innovations in the musical language. After first focusing on the musical context in which these symphonies were composed, on the pedagogic stakes entailed and on the decisive role of orchestral societies, the analysis will then closely examine the scores in a quantitative and qualitative comparative approach moving from the internal construction of the smallest musical elements to the completion of the large form. The autonomy of a genre distinct from its Germanic model and the permanence of a French symphonic school throughout the 19th century will emerge thanks to the observation of collective and individual practices which contributed to a reassessment of norms, to a selective but gradual revision of musical forms.

Reid Concerts began in 1841 and were defined by Donald Francis Tovey as those concerts presented by the University of Edinburgh under the auspices of the Professors of Music, based on the guidance laid down in the will and codicil of General John Reid. Reid was a major benefactor who bequeathed funds for the establishment of the Chair of the Theory of Music at The University of Edinburgh with a condition attached to the bequest that a concert be held each year in his memory. This thesis will explore the development and evolution of the first 100 years of these concerts through the contents of the available original concert programmes and related ephemera held in the Centre for Research Collections at The University of Edinburgh - a valuable historical resource which has never been fully recorded or researched. Analysis of this resource will focus on the programming, people, personalities, places, and perspectives associated with the performances and offer insight into the choices and influences of the Professors of Music charged with the organisation and implementation of the concerts over an extended timescale from 1841 to 1941. To aid this analysis a searchable online database has been designed and developed to provide outline performance details and some background information on the contents of many of these Reid concert programmes: http://www.reidconcerts.music.ed.ac.uk. The database is both a finding aid to these contents and a research tool providing a basis for future studies. This research will contribute to the history of the University and City of Edinburgh and the social and musical history of concerts in the University from 1841. The findings emphasise the usefulness of printed concert programmes in recording trends in concert presentation and programming and will broaden the knowledge of this use of such ephemera for academic research.

La crise du disque se manifeste par une baisse conséquente du revenu des artistes. C’est pourquoi, les concerts apparaissent comme une source de revenu importante. Dans ce contexte, le placement de produits durant les concerts est une pratique qui tend à se développer. Ces constats nous ont conduit à formuler la problématique de recherche suivante : quelles sont les opportunités de placement de produits dans les concerts de musique (technique où le public n’a pas forcément conscience de la tentative de persuasion) et quel est l’impact du placement de produits sur l'image de marque ?La revue de la littérature présente trois processus de persuasion expliquant l’efficacité du placement : le concept de congruence entre l’artiste et la marque (Russell, 1998), l’intéressement perçu de l’artiste (Friestad et Wright, 1994) et l’endossement de personnalité (Mac Cracken, 1989). De plus, le cadre théorique de la servuction (Eglier et Langeard, 1987) a permis de mettre en lumière l’importance des interactions entre le personnel en contact et le consommateur. Il nous a permis de proposer une typologie du placement de produits (selon le niveau de participation de l’artiste et du public).La méthodologie de la recherche se décline en trois phases. La première phase est de nature qualitative par le biais d’entretiens semi-directifs. Ces entretiens menés auprès d’artistes de renoms, d’organisateurs de concerts et de responsables d’agences de communication ont permis d’analyser les pratiques de placement de produits d’une part et d’évaluer les motivations et les freins des professionnels vis-à-vis de cette technique d’autre part. La deuxième phase est de nature quantitative. L’efficacité de quatre techniques de placement sur l’image de marque a été comparée au moyen d’une expérimentation. Quatre concerts ont été organisés dans des conditions aussi proches que possibles de la réalité. Les résultats démontrent la supériorité du placement interactif (forte participation de l’artiste et du public au placement) en termes d’image de marque. Enfin, la troisième phase a consisté en une étude quantitative ad hoc durant un concert d’un groupe à forte notoriété utilisant la technique du placement interactif. Les résultats confirment l’influence du placement produits sur l’image de marque.En synthèse, cette thèse décrit les opportunités offertes par les concerts de musiques en termes de placement de produits. Le dispositif méthodologique permet d’évaluer l’efficacité de quatre techniques de placement sur l’image de marque et démontre l’intérêt du placement interactif. Enfin, elle contribue à mettre en lumière le rôle de l’attitude vis-à-vis de l’artiste et de la congruence entre la marque et l’artiste. Les limites de ce travail et les nombreuses voies de recherches offertes par ce champ encore peu étudié sont présentées en conclusion. / Product placement is becoming an increasingly significant communication tool in cultural products. Product placement is traditionally studied in the field of films, but music concerts are also an attractive medium. Indeed, the crisis of the music industry leads the artists to find another way to other sources of financing. Our research takes into account the influence of this technique in connection with congruence, personality endorsement and how the audience copes when they recognize the persuasion attempt. Moreover, we considered the effect of product placement on brand image, because it is one of the most important goals according to the firms which want to use the technique of product placement. We aim to better understand the ins and outs of product placements in music concerts thanks to three studies. The first one is qualitative. We interviewed various artists, companies which deal with product placement, concert music producers and a legwoman. The second one is quantitative, and compares 4 types of product placements thanks to an in situ study. The last one is also quantitative and is linked with the previous study. It aims to focus on interactive product placement in which the interaction between the artist and the audience becomes the medium for new forms of product placement. We are not able to demonstrate significant results of interactive product placement on brand image but there is a trend showing that interactive product placement leads to a better brand image compared with the other kinds of placements. Subsequently, we underline the complex role of congruence. Moreover when the audience identifies the persuasion attempt, it does not influence negatively the brand image contrary to what the Persuasion Knowledge Model indicates. In return, product placement efficiency on brand image is linked with endorsement. Indeed the attitude towards the artist has a positive influence on brand image. The research concerning product placements in music concerts is still in its early stages but this kind of sponsorship offers promising opportunities for brands and artists alike.

Débutant sa carrière durant les dernières années du règne de Louis XIV sous les auspices de Michel-Richard de Lalande, François Colin de Blamont se fait connaître dans les salons de la Régence par ses airs et ses cantates. Nommé Surintendant de la Musique de la Chambre du jeune Louis XV (1719), il devient l’un des acteurs déterminants de l’évolution des goûts et des pratiques musicales de la Cour. Dans la capitale, il est joué avec succès au Concert Spirituel, à l’Académie royale de musique et dans les cénacles en vue, souffrant toutefois de l’étoile montante de Jean-Philippe Rameau. Ses partitions témoignent de l’ambiguïté musicale française caractéristique du Siècle des Lumières, associant respect de la tradition et recherche de modernité. Ce travail propose de mettre en lumière la carrière et l’Œuvre de ce compositeur en les éclairant par le contexte historique, social et politique. La première partie fait le point sur la jeunesse, la formation et les premières productions de l’auteur. La deuxième partie est consacrée au service de la Cour. La troisième partie aborde le milieu musical parisien et les implications de Colin de Blamont dans les grandes institutions de la capitale. Enfin, la dernière partie tente de porter un regard neuf sur l’auteur, considéré tout à la fois comme homme de cour, esthète et musicien. / François Colin de Blamont started his career during the last years of the reign of Louis XIV under the aegis of Michel-Richard de Lalande. During the Regency, he was mostly known through his arias and cantatas. In 1719, he was appointed ‘Surintendant de la Musique de la Chambre’ of the young Louis XV. He became one of the main personalities involved in the evolution of the tastes and the musical practices at the Court. In Paris, his music was successfully played at the ‘Concert Spirituel’, at the ‘Académie royale de musique’ and in the most famous literary sets, even if the rising star of Jean-Philippe Rameau was to overshadow him. His style shows the musical ambiguity typical of French music of the 18th century, which associated the respect of the tradition with the aspiration to modernity. This study aims to bring to light the career and the works of this composer by considering them in their historical, social and political context. The first part sums up his youth, his training and his first works. The second part is devoted to his career at the Court. The third part explores the Parisian musical environment and the involvement of Colin de Blamont in the main institutions of the city. Finally, the last part will consider the author in a new way, as a man of court, as an esthete and as a musician.

Our purpose with this research is to highlight that there is a scope for increased value creation in the experience room during concerts, and how value-enhancing strategies can be a competitive advantage for different venues. In our investigation of this we have worded the following research question: How is the perceived customer value affected during a concert in the experience room and its physical environment? With the background in this question we have identified three key concepts that we believe are the influence of the total concert experience which are; sensory experiences, interaction and identity. From these concepts we have drafted a number of propositions to test the reality by our empirical data collection.

Today many people experience that their phones are taking them out of the present. This is the case at concerts too where some perceive them to be a distraction from the actual experience. This paper maps what the concert experience consists of from a qualitative perspective and then uses the same phones that people perceive to be distracting for making them more engaged in the event.

En tenant compte que la démocratisation culturelle a été établie comme l’un des piliers de la première politique culturelle du Québec, Notre culture, notre avenir (Ministère des Affaires culturelles 1992), ce mémoire aborde le phénomène des concerts crossover symphoniques–concerts hybrides intégrant un élément d’un autre genre musical aux concerts symphoniques (Brackett 1994)–chez les institutions symphoniques au Québec, à partir des exemples de l’Orchestre symphonique de Québec (OSQ) et de l’Orchestre symphonique de Montréal (OSM). L’objectif de ce mémoire est de comprendre la portée socioculturelle de cette pratique, au-delà de sa fonction de stratégie marketing utilisée pour attirer les publics à court terme afin de pallier les difficultés financières accentuées par une baisse de fréquentation des institutions symphoniques. Dans un premier temps, ce mémoire présente un portrait global de la présence de concerts crossover au sein des programmations annuelles de l’OSQ et de l’OSM depuis ce qu’il nous apparaît comme le début decette pratique, soit la saison 2000-2001, jusqu’à la saison 2017-2018 inclusivement et, dans un deuxième temps, propose des facteurs contribuant aux variantes et aux constantes identifiées, de même qu’au point de convergence de la pratique observée tant à l’OSQ qu’à l’OSM. Finalement, ce mémoire propose une réflexion sur la pratique observée et de son évolution, à la lumière de notre compréhension de la notion de démocratisation culturelle (Bellavance 2002) dans un contexte où les habitudes et pratiques culturelles des publics sont davantage marquées par des caractéristiques d’omnivorité culturelle (Peterson 1992). Au final, cette réflexion permettra de comprendre en quoi le crossover, tel que pratiqué par l’OSQ et l’OSM depuis la saison 2000-2001, peut être un vecteur de démocratisation culturelle pour les institutions symphoniques au Québec. / Taking into account that cultural democratization was established as one of the pillars of Quebec's first cultural policy, Notre culture, notre avenir (Ministère des Affaires culturelles 1992), this thesis addresses the phenomenon of crossover symphony concerts-hybrid concerts integrating an element of another musical genre within a symphony concert (Brackett 1994) –among Quebec symphony institutions, based on the examples of the Orchestre symphonique de Québec (OSQ) and the Orchestre symphonique de Montréal (OSM). The aim of this thesis is to understand the socio-cultural scope of this practice, beyond its marketing strategy function used to attract short-term audiences in order to overcome the financial difficulties accentuated by a decrease in attendance of symphony institutions. Firstly, this thesis presents an overall picture of crossover concerts within the OSQ and OSM annual programming since when it appears to be the beginning of this practice, that is, the 2000-2001 season up to and including the 2017-2018 season and, secondly, suggests factors contributing to the variables and constants identified, as well to the convergence point of the practice observed both at the OSQ and OSM. Finally, this thesis proposes a reflection on this practice and its evolution, in light of our understanding of the notion of cultural democratization (Bellavance 2002) in a context where the habits and cultural practices of the public are more marked by characteristics of cultural omnivority (Peterson 1992).The aim of this reflection is to understand how crossover as practiced by the OSQ and OSM since the 2000-2001 season can be a vehicle of cultural democratization for Quebec’ssymphony institutions.

O objetivo desta pesquisa concentrou-se em propor e validar três instrumentos de medida relacionados aos expectadores de shows musicais: escala de satisfação dos frequentadores de shows musicais, escala de socialização em shows musicais e escala de identificação com a música. De acordo com Cole e Chancellor (2009), diferentes atributos de um festival de música geram distintos impactos no comportamento dos expectadores, o que também pode ser considerado válido para o contexto dos shows musicais. No entanto, até então, academicamente, pesquisas no campo da Administração sobre este tema ainda são recentes (GETZ, 2010). Sendo assim, este estudo justifica-se e está amparado nos seguintes pontos: (a) para ampliar o conhecimento sobre o comportamento de consumidores os quais frequentam shows musicais; (b) por se tratar de um estudo exploratório e, de certo modo, pioneiro, principalmente no que se refere à academia brasileira; (c) pela escassez de informações sobre aspectos centrais os quais influenciam a satisfação, a socialização e a identificação com a música quando se trata de frequentadores de shows musicais; (d) pela escassez de instrumentos de medida (escalas) em relação à estes construtos; e (e) pela relevância gerencial, visto que o show é a fonte principal de renda para muitos profissionais da indústria da música (SALAZAR, 2010), estes podem usar as informações deste trabalho para formular novas estratégias ao planejar e organizar shows musicais. A partir deste cenário, optou-se por estudar três construtos distintos: a satisfação dos frequentadores de shows musicais, a socialização entre eles e a identificação com a música. Para o alcance do objetivo, foi empregado um método qualiquantitativo. Primeiramente, foi desenvolvida a fase qualitativa, usando-se grupos focais com o intuito de identificar os aspectos centrais os quais influenciam a satisfação, a socialização e a identificação com a música quando se trata de frequentadores de shows musicais. Dentre os principais resultados desta etapa, quando se trata da satisfação dos frequentadores de shows musicais, os fatores de influência mais relevantes estiveram relacionados aos serviços oferecidos – com destaque para oferta de bebidas, limpeza dos banheiros e filas que se formam no evento – organização, infraestrutura do show e performance dos artistas. Além disso, em relação à socialização dos frequentadores de shows musicais, constatou-se que a maioria dos entrevistados costuma ir a este tipo de evento acompanhado de outras pessoas, porém alguns não excluíram a possibilidade de comparecer sozinhos. Quanto à identificação com a música, foi possível perceber que a música é muito importante para alguns, pois considerariam a possibilidade de ir a um show, ainda que sozinhos, desde que pudessem cantar a maioria das músicas do setlist escolhido pelo artista. A fase quantitativa foi desenvolvida para propor e validar os três instrumentos de medida almejados. Nesta etapa, foram seguidos seis passos para a construção de escalas de medida propostos por Vieira (2011): (i) definição dos construtos; (ii) elaboração de itens que acessem o construto; (iii) validação de conteúdo dos indicadores; (iv) aplicação dos indicadores em pesquisa de préteste; (v) aplicação da escala em estudo oficial; e (vi) realização de estudos de validade de construto. Em se tratando do estudo oficial, uma survey online foi publicada em redes sociais demandando que os entrevistados respondessem uma série de questões acerca do último show musical que tinham participado, como consequência 314 respostas válidas foram obtidas. Em relação aos resultados do estudo quantitativo, os três instrumentos de medida estudados – escala de satisfação dos frequentadores de shows musicais, escala de socialização em shows musicais e escala de identificação com a música – foram devidamente validados estatisticamente. Ao final, a escala de satisfação dos frequentadores de shows musicais ficou configurada com 19 indicadores, medidos em escala do tipo Likert de 7 pontos, e subdividido em três fatores: Satisfação em relação ao Core Business (Alfa=0,907 e 6 indicadores); Satisfação em relação à Organização e Infraestrutura (Alfa=0,869 e 7 indicadores); e Satisfação em relação a Dimensões Secundárias do Serviço (Alfa=0,882 e 6 indicadores). Como resultado, a escala de socialização em shows musicais ficou configurada como um instrumento unidimensional, contendo 3 indicadores, medidos em escala do tipo Likert de 7 pontos (Alfa=0,882). Por fim, a escala de identificação com a música constituísse de 7 indicadores, em escala do tipo Likert de 7 pontos, e subdividido em duas dimensões: Identificação Passiva com a Música (Alfa =0,933 e 5 indicadores); e Identificação Ativa com a Música (Alfa =0,625 e 2 indicadores). Portanto, é possível afirmar que o objetivo geral deste estudo foi atendido. / This research focused on proposing and validating three different measuring instruments related to concerts’ attendees: scale of satisfaction of concerts' attendees, scale of socialization in concerts and scale of identification with music. According to Cole and Chancellor (2009), different attributes of a music festival generate different impacts on attendees, that can also be considered for the context of concerts. However, at the moment, researches in the field of Administration, about this issue, are still recent (GETZ, 2010). Thus, this study is justified and supported on the following points: (a) to increase knowledge of consumer behavior which attend concerts, (b) because it is an exploratory study and, at the moment, pioneer, especially with regard to the Brazilian Academy; (c) the lack of information on key aspects which influence satisfaction, socialization and identification with music considering concerts' attendees; (d) the lack of measuring instruments (scales) related to these constructs; (e) the managerial relevance, once the concert is the main source of income for many professionals in the music industry (SALAZAR, 2010), they can use part of the information of this work to formulate new strategies to plan and organize concerts. Considering this scenario, it was selected three different constructs to study: the satisfaction of the concerts' attendees, socialization among them and identification with music. To reach the goal of this research, it was applied a qualiquantitative method. Firstly, it was developed the qualitative phase using focus groups in order to identify the key aspects which influence the satisfaction, socialization and identification with the music in the context of concerts' attendees. Among the main results of the qualitative study, when it comes to satisfaction of the concerts' attendees, the most significant factors reported by the respondents were related to services - especially for beverage supply, cleaning of bathrooms and lines that form at the event - organization, concert infrastructure and artists' performance. Moreover, considering the socialization among concerts' attendees context, it was found that most respondents usually go to this kind of event with other people, but some did not exclude the possibility to attend alone. About identification with music, it was revealed that music is very important for someones as they would consider the possibility of going to a concert, even alone, since they could sing most of the songs of the setlist chosen by the artist. The quantitative phase was developed in order to propose and validate the three measure instruments targeted. In this second phase, six steps were followed for the construction of the proposed measurement scales, according to Vieira (2011): (a) defining the constructs; (b) preparation of the items of the constructs; (c) items content validation; (d) application of the items in pre-test research; (e) application of the scales in official study; (f) conducting construct validity studies. In the official study phase, an online survey was published on social networks requiring respondents to answer a set of questions about the last concert that he or she has participated in the last 12 months and, as a result, 314 valid responses were obtained. Regarding the results of the quantitative study, the three scales - scale of satisfaction of concerts' attendees, scale of socialization in concerts and scale of identification with music - have been proposed and validated statistically. After the end of the process, the scale of satisfaction of concerts' attendees was configured with 19 items measured in Likert scale of 7 points, and divided into three factors: Satisfaction regarding the Core Business (Alpha = 0,907 and 6 items); Satisfaction regarding Organization and Infrastructure (Alpha = 0,869 and 7 items); and Satisfaction regarding Secondary Services (Alpha = 0,882 and 6 items). The socialization in concerts scale was configured as a one-dimensional instrument, containing three indicators measured in Likert scale of 7 points (Alpha = 0.882). Finally, the identification with music scale was configured of 7 indicators, measured in Likert scale of 7 points, and divided into two factors: Passive Identification with Music (Alpha = 0,933 and 5 items); Active Identification with Music (Alpha = 0,625 and 2 items). Therefore, it can be stated that the overall objective of this study was achieved. / Dissertação (Mestrado)

Made available in DSpace on 2016-12-08T17:06:42Z (GMT). No. of bitstreams: 1 113289.pdf: 1053134 bytes, checksum: 9927653fda0bb011605fa720b589c1db (MD5) Previous issue date: 2013-04-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The consolidated public concerts during the nineteenth century remained the same size, which led to the crystallization of the performer-audience relationship to the present. With the autonomy gained by the composer, its function is separated from the figures performer and the listener, which established a new configuration under the musical season. However, despite the legacy of nineteenth-century tradition in the twentieth century, the Canadian pianist Glenn Gould pointed out new aspects in the unfolding of this relationship. His intense relationship with the studio recording, radio and television, has proposed a different positioning in respect to the figure of the interpreter in relation to his own art and the public. This research is focused on addressing these new designs proposed by Gould, in order to rethink the artistic practice of contemporary pianist. The work is divided into three parts. Chapter 1 is a plot of the historical tradition of concerts, from the end of the eighteenth century to its emergence during the nineteenth century. It also parallels Gould with public concerts and his preference for media (recording studio, radio and television). In chapter 2, is presented in depth about the prospect of Gould presentations in public and also the relationship of the spectator with his interpreter. The last chapter is reflecting about the interpretive process of Gould as an aid to a rethinking of the interpreter today. / Os concertos públicos consolidados durante o século XIX permaneceram com o mesmo formato, o que suscitou a cristalização da relação intérprete-público até a atualidade. Com a autonomia adquirida pelo compositor, sua função se separou das figuras do intérprete e do público, o que estabeleceu uma nova configuração no âmbito musical da época. Contudo, apesar da herança da tradição oitocentista, no século XX, o pianista canadense Glenn Gould apontou novos aspectos no desdobramento dessa relação. Seu vínculo intenso com o estúdio de gravação, o rádio e a televisão, propôs um posicionamento diferente em respeito à figura do intérprete na relação com sua própria arte e com o público. A presente pesquisa tem como foco a abordagem destes novos delineamentos propostos por Gould, com o intuito de repensar a prática artística do pianista contemporâneo. O trabalho está dividido em três partes. No capítulo 1 é um traçado histórico da tradição dos concertos, a contar do final do século XVIII até sua eclosão durante o século XIX. Também é feito um paralelo de Gould com os concertos públicos e sua preferência pelas mídias (estúdio de gravação, rádio e televisão). No capítulo 2, é apresentada de forma aprofundada a perspectiva de Gould acerca das apresentações em público e também da relação do intérprete com seu espectador. O último capítulo reflete acerca do processo interpretativo de Gould, como auxílio para um repensar da prática do intérprete na atualidade.