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O presente trabalho teve como objetivo, num primeiro momento, o de realizar algumas considerações do ponto de vista pedagógico quanto ao ensino / aprendizagem do FLE - Francês Língua Estrangeira, no tocante à metodologia, às possíveis abordagens e à importância do ensino da civilização, dentro do universo intercultural que leva o indivíduo a se descentrar, a cooperar, a ultrapassar certos pré-julgamentos e a compreender como o outro o vê e as representações do mundo. Os conceitos de Pierre Martinez, Christian Puren, Pierre Dumont, Jean-Claude Beacco e Martine Abdallah-Pretceille, dentre outros, constituíram algumas das postulações das quais pude me valer para estudar estas questões. Ocupou lugar especial a questão da inserção do ensino de línguas dentro do universo da globalização, já que não podemos desatrelar a questão educativa das questões sociais ou econômicas, que aí se fazem refletir diretamente. Os trabalhos de Martin Carnoy, publicados pela Unesco, bem como o \"Cadre Européen de référence pour les langues: apprendre, enseigner, évaluer\", entre outros, constituíram fontes sólidas para essas informações. Num segundo momento, o ensino de FLE ganha dimensão através de estratégias de ensino, de instrumentos poderosos dentro da tarefa a que deve se propor o ensino de línguas estrangeiras: a de ensinar de forma prazerosa e efetiva. Dentro dessa perspectiva, o ensino através de canções se reveste de grande importância, sendo um elemento de grande valia para o desafio que é colocado, permitindo ao aluno a imersão na aprendizagem, grande interação em sala de aula e a obtenção de informações preciosas dentro do contexto cultural ou intercutural, já que, ao lado de outras produções, a canção permite a apreensão de elementos da estrutura social e artística de uma determinada época, produzida num certo momento histórico. Finalmente, o relato da experiência do curso de francês extracurricular ministrado na FFLCH da USP visa dar elementos para presentes e futuras reflexões por parte de colegas que, em busca da motivação e realização da aprendizagem, desenvolvem novas alternativas e formas de ensinar que possam levar o aluno a refletir sobre as questões gerais que estão implícitas quando se fala em ensino de língua estrangeira; afinal, aprender uma língua é, sem dúvida, aprender também sua cultura, o quê e como pensa o povo que fala esta língua; conhecer seus ícones, seus símbolos, em seus vários aspectos ou temas, bem como algumas de suas representações. Foi o que se pretendeu abordar através do Curso de Francês através das Canções. / The present work had the objective, at first, of making some considerations on a pedagogical view about the teaching way/learning of the FLE - Francês Língua Estrangeira, when it gets to methodology, possible approaches and the importance of the civilization teaching inside the intercultural universe which leads individuals to cooperate, get trough some pre judgments and to understand how others see themselves and the world representations. The subject of the insertion of the language teaching into the globalization universe, took a special place on this work, as we can\'t separate the educative question from the social or economical questions, which are intrinsically connected. The works of Martin Carnoy, published by UNESCO, as well as, the Cadre Européen de reference pour les langues: apprendre, enseigner, évaluer, among others, served as solid sources to those information. On a second moment, the FLE teaching grows in importance trough teaching strategies, trough powerful instruments inside the task on which the foreign language teaching must reflect on: to teach on a pleasant and affective way. Based on that perspective the teaching trough songs gains great importance, being a very valuable element to the challenge which is set, leading the student to a total focus on the process of learning, great interaction in the classroom and to the attainment of precious information inside the cultural and intercultural context, since among other productions, songs allow the fixation of elements from the social and artistic structure from a determined time, produced at a certain historical moment. Finally, the experience report from the external French course ministered at this Institution, aims the generation of elements to present and future reflection by colleagues which, on the search of motivation and learning accomplishment, develop new alternatives and teaching ways that may lead the student to reflect about the general questions which are implicit when it gets to foreign language teaching; after all, to learn a language is, without question, to learn its culture, what and how the people who speak that language think; to know its icons, its symbols on several aspects or themes, some of its representations. That is what was intended to be demonstrated trough the French Course trough Songs.

O presente trabalho teve como objetivo, num primeiro momento, o de realizar algumas considerações do ponto de vista pedagógico quanto ao ensino / aprendizagem do FLE - Francês Língua Estrangeira, no tocante à metodologia, às possíveis abordagens e à importância do ensino da civilização, dentro do universo intercultural que leva o indivíduo a se descentrar, a cooperar, a ultrapassar certos pré-julgamentos e a compreender como o outro o vê e as representações do mundo. Os conceitos de Pierre Martinez, Christian Puren, Pierre Dumont, Jean-Claude Beacco e Martine Abdallah-Pretceille, dentre outros, constituíram algumas das postulações das quais pude me valer para estudar estas questões. Ocupou lugar especial a questão da inserção do ensino de línguas dentro do universo da globalização, já que não podemos desatrelar a questão educativa das questões sociais ou econômicas, que aí se fazem refletir diretamente. Os trabalhos de Martin Carnoy, publicados pela Unesco, bem como o \"Cadre Européen de référence pour les langues: apprendre, enseigner, évaluer\", entre outros, constituíram fontes sólidas para essas informações. Num segundo momento, o ensino de FLE ganha dimensão através de estratégias de ensino, de instrumentos poderosos dentro da tarefa a que deve se propor o ensino de línguas estrangeiras: a de ensinar de forma prazerosa e efetiva. Dentro dessa perspectiva, o ensino através de canções se reveste de grande importância, sendo um elemento de grande valia para o desafio que é colocado, permitindo ao aluno a imersão na aprendizagem, grande interação em sala de aula e a obtenção de informações preciosas dentro do contexto cultural ou intercutural, já que, ao lado de outras produções, a canção permite a apreensão de elementos da estrutura social e artística de uma determinada época, produzida num certo momento histórico. Finalmente, o relato da experiência do curso de francês extracurricular ministrado na FFLCH da USP visa dar elementos para presentes e futuras reflexões por parte de colegas que, em busca da motivação e realização da aprendizagem, desenvolvem novas alternativas e formas de ensinar que possam levar o aluno a refletir sobre as questões gerais que estão implícitas quando se fala em ensino de língua estrangeira; afinal, aprender uma língua é, sem dúvida, aprender também sua cultura, o quê e como pensa o povo que fala esta língua; conhecer seus ícones, seus símbolos, em seus vários aspectos ou temas, bem como algumas de suas representações. Foi o que se pretendeu abordar através do Curso de Francês através das Canções. / The present work had the objective, at first, of making some considerations on a pedagogical view about the teaching way/learning of the FLE - Francês Língua Estrangeira, when it gets to methodology, possible approaches and the importance of the civilization teaching inside the intercultural universe which leads individuals to cooperate, get trough some pre judgments and to understand how others see themselves and the world representations. The subject of the insertion of the language teaching into the globalization universe, took a special place on this work, as we can\'t separate the educative question from the social or economical questions, which are intrinsically connected. The works of Martin Carnoy, published by UNESCO, as well as, the Cadre Européen de reference pour les langues: apprendre, enseigner, évaluer, among others, served as solid sources to those information. On a second moment, the FLE teaching grows in importance trough teaching strategies, trough powerful instruments inside the task on which the foreign language teaching must reflect on: to teach on a pleasant and affective way. Based on that perspective the teaching trough songs gains great importance, being a very valuable element to the challenge which is set, leading the student to a total focus on the process of learning, great interaction in the classroom and to the attainment of precious information inside the cultural and intercultural context, since among other productions, songs allow the fixation of elements from the social and artistic structure from a determined time, produced at a certain historical moment. Finally, the experience report from the external French course ministered at this Institution, aims the generation of elements to present and future reflection by colleagues which, on the search of motivation and learning accomplishment, develop new alternatives and teaching ways that may lead the student to reflect about the general questions which are implicit when it gets to foreign language teaching; after all, to learn a language is, without question, to learn its culture, what and how the people who speak that language think; to know its icons, its symbols on several aspects or themes, some of its representations. That is what was intended to be demonstrated trough the French Course trough Songs.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Le chansonnier breton Théodore Botrel est connu pour être le père du mouvement de propagande de la Bonne Chanson. Ce mouvement naît dans le contexte montmartrois, alors qu’en 1900, les chansonniers se réunissent en Congrès pour discuter de l’avenir de leur art, malmené par le flot infatigable des chansons de café-concert. Ce combat pour la « saine » culture, c’est aussi celui de la IIIe République au nom de la moralité. C’est dans ce contexte que Botrel, débutant dans les cabarets artistiques parisiens, choisit de ne chanter que sa Bretagne dans un répertoire exempt de grivoiseries. Il s’inscrit alors dans un courant qui embrasse la Belle Époque : le régionalisme. Soucieuse de préserver le particularisme des « petites patries » et face au pouvoir centralisateur parisien, l’élite culturelle régionale entreprend un vaste travail de valorisation des régions. La Bretagne occupe une place particulière dans ce courant en tant que conservatoire de la tradition et principale victime des réformes d’Émile Combes qui s’attaquent aux ferments de son identité : sa langue et sa religion. Ce mouvement trouve écho au Canada français où l’idéologie dominante brandit l’étendard du nationalisme politico-culturel. Parce qu’ils défendent l’idée de la « vocation française » en Amérique et le maintien des « bonnes mœurs », l’élite traditionnelle et les journaux saluent les venues de Botrel au Québec en 1903 et 1922. Patriotique, catholique et conservateur, le chansonnier bénéficie de la conjoncture historico-culturelle québéco-bretonne. De Paris à la Bretagne, puis au Canada, Botrel connaît un succès sans égal. / The Breton cabaret singer Théodore Botrel is known as the father of the propagandist movement of La Bonne Chanson. In the context of Montmartre's culture, the year 1900 sees the creation of this movement during a Congress uniting cabaret artists to discuss the future of their art, scoffed by the tireless torrent of café-concert songs. This fight for “sane” culture is also the one of the Third Republic in the name of morality. It is in this context that Botrel, who makes his debut in the Parisian artistic cabarets, chooses to sing only about Brittany and without bawdy talk. Therefore, he is part of a trend which embraces the Belle Époque : regionalism. Concerned about protecting the distinctive identity of “small homelands” and in the face of Parisian centralizing power, the regional cultural elite begins greatly promoting regions. Brittany occupies a particular place in this trend as conservatory of traditions and as the main victim of the reforms of Émiles Combes which attack the ferments of its identity : language and religion. This movement finds echo in French Canada where the dominant ideology brandishes the banner of politico-cultural nationalism. Because they defend the idea of the “French vocation” in America and seek to preserve “good customs”, the traditional elite and newspapers welcome Botrels’ visits in Quebec in 1903 and 1922. Patriotic, catholic and conservative, the cabaret singer benefits from the historico-cultural circumstances in Quebec and in Brittany. From Paris to Brittany, then in Canada, Botrel knows an unequalled success.

L’enjeu de cette thèse est d’étudier la chanson non dans sa dialectique parole/musique, mais par la saisie d’une troisième entité : l’interprétation vocale. Il s’agit à la fois d’en faire émerger l’importance fondamentale et la richesse et de lui conférer sa légitimité d’objet d’étude par la mise en place d’un protocole méthodologique et lexical spécifique qui en autorise l’analyse – au même titre que la composition – malgré son caractère mouvant et réputé réfractaire à la théorisation. Abordée comme objet complexe (selon la terminologie d’Edgar Morin), elle est soumise au feu croisé des disciplines (musicologie, linguistique, rhétorique, acoustique) pour pousser autant qu’il est possible son objectivation. Sous l’égide de la musicologie, l’utilisation d’outils informatiques permet d’établir une complémentarité entre les perspectives des sciences humaines et des sciences exactes, de capter et d’analyser les spécificités interprétatives, aussi bien dans leurs caractères dominants qu’agogiques, leurs rapports à la partition, leur complexité combinatoire au sein des méta-paramètres (timbre, rythme, phrasé) et les tensions dialogiques qui les parcourent (variation/répétition, mélodicité/insertion du bruit, chanté/parlé). Le large corpus de chanteurs d’expression française (du style Rive gauche à la Nouvelle chanson française) permet d’appréhender, au travers d’analyses d’enregistrements en studio ou en concert, la spécificité irréductible de chacun, émanation d’un corps unique, mais aussi de grands réseaux tendanciels de parentés stylistiques. Mise en avant par la perspective sémiologique, autour des notions de stratégie et de visées interprétatives, de rhétorique vocale, de suscitation du pathos et d’expression de l’ethos, se fait jour une typologie des styles interprétatifs, ouverte sur la prise en compte de l’originalité intrinsèque de chaque interprète et sur l’intégration des évolutions génériques ultérieures. / The present thesis focuses on the study of the song not in its word and music dialectic but through the acquisition of a third entity : the vocal rendition. The point is to reveal its critical importance and richness and make it legitimate as a subject of study as the result of the implementation of a specific methodological and lexical protocol that allows the analysis – as with the composition – although its changeable nature is not conducive to theorizing. Considered as a complex object (according to Edgar Morin’s terminology), vocal rendition is submitted to the crossfire of various disciplines (musicology, linguistics, rhetoric, acoustics) in order to favour as far as it is possible its objectivization. Within the framework of musicology, the use of computer tools makes it possible to establish a complementarity between the perspectives of social sciences and exact sciences, to catch and analyse the peculiarities of the performances both in their dominant or agogic characters, their connexions to the score, their combinatorial complexity within the meta-parameters (timbre, rhythm, phrasing), as well as the dialogical tensions which run through them (variation and repetition, melodicity and noise integration, singing and speaking parts). Thanks to the existence of a large body of French-speaking singers (from Rive Gauche style to Nouvelle chanson française) it is possible by studying studio and concert recordings to grasp the irreducible specificity of everyone (what is issued from a unique body) as well as the great underlying networks of stylistic relationships. Disclosed by the semeiological perspective, around the notions of strategy and performance designs, vocal rhetoric, the way to induce pathos and to express ethos, there emerges a typology of performing styles that is open to considering the intrinsic originality of each performer and integrating further generic developments.