Orientador: Eduardo Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:58:05Z (GMT). No. of bitstreams: 1 Bernardes_JoseAntonioBranco_M.pdf: 6682447 bytes, checksum: 0a76b37323e7c504fdb7e3d911a327d5 (MD5) Previous issue date: 2008 / Resumo: Este trabalho procura tratar de questões práticas concernentes a uma realização historicamente informada dos recitativos do intermezzo Le Devin du Village de Jean-Jacques Rousseau (1712-1778). Não tem pretensão de responder todas as questões suscitadas pela partitura original, mas sim de proporcionar o máximo de subsídios ao artista competente - embora não especialista em música francesa de meados do séc. XVIII - que deseje conduzir (reger) esta obra. Os estudos sobre Rousseau têm privilegiado os aspectos teórico-musicais de sua obra. Neste estudo procurou-se estabelecer parâmetros de realização dos recitativos pertencentes ao Devin principalmente através da aplicação dos conceitos e práticas musicais defendidas por Rousseau e outros autores de seu tempo. Muito das sugestões propostas são fruto da aplicação dos tratados de época em apresentações de excertos de Le Devin du Village dirigidos pelo autor em 1997, 2003, 2004 e 2007. Uma performance ou realização historicamente informada deverá ser uma recriação idealizada a partir do conhecimento o mais profundo possível de seu Zeitgeist, o que a tornará necessariamente única e transiente, cada apresentação um novo acontecimento. A mera listagem e citação de fontes de época pouco pode provar por si mesma, o simples acesso a elas não seria garantia de veracidade absoluta. Vivência e experimentação artística são essenciais. Será através de erros e acertos na prática real, com posterior reflexão e ajustes, que consolidaremos uma real compreensão desse repertório. Afinal, o fazer artístico e o pesquisar acadêmico são ambos linguagens distintas e dificilmente comunicáveis e seria um grande engodo postular uma reprodução idêntica àquela ocorrida séculos atrás. De fato, não é possível abandonarmos nossa individualidade, que é realmente do séc. XXI. Compete-nos, através de um estudo profundo, adquirir a capacidade de atuar no estilo e pensamento de época como uma segunda natureza, unindo os diversos campos envolvidos em um todo coerente no atual contexto de realização artística. Enfim, o exercício do goût / Abstract: This work seeks to address practical issues concerning the performance of recitatives from Jean-Jacques Rousseau's (1712-1778) intermezzo Le Devin du Village from a historically informed perspective. There is no pretension in answering all issues raised raised upon examination of the original score, rather to offer musical, technical and stylistic subsidies to the competent musician - not necessarily expert on mid-18th century French music - when faced with the task of conducting this work. Studies about Rousseau have for the most part tended to favor the music-theoretical aspects of his works. In this study the author proposes to establish parameters for the performance of these recitatives mainly through the application of the concepts taken from historical music treatises and musical practices advocated by Rousseau himself and contemporary authors. Many of the proposed suggestions are the result of practical experiences acquired during the performances of excerpts from Le Devin du Village conducted by the author in 1997, 2003, 2004 and 2007. Several ideas discussed by in this dissertation will allow for an idealized re-creation of this intermezzo stemming from the deepest possible possible knowledge of its Zeitgeist, which will necessarily be unique and transient. The mere citation of historical sources nothing can prove by itself; direct access to these sources is no guarantee of absolute musical veracity. The artistic musicmaking and academic research are two distinct languages and of difficult intercommunicability. We are a "child of our time". It is our responsability, however, acquire a deeper historical knowledge for a keener insight into the style and thought of that epoch in order to develop the ability to act and perform as if it were one's own second nature. Hopefully it will unite the various fields of the art involved in making a coherent whole resulting in a new context of artistic realization. The exercise of bon goût at last / Mestrado / Musica / Mestre em Música

The significance of this opera, Le Devin du Village, lies not in the fact that it is great music, but in the fact of its historical importance. Its appearance in 1752, with its revolutionary ideas, heralds the coming of what we consider today as native French comic opera; i. e., native in the sense that it is composed by Frenchmen, although adapted from the Italian style in many respects. Another claim of uniqueness that might be made for this work is that its composer was no recognized musician, but one of the greatest pre-Revolution philosophers. His open-minded ness and eagerness to break loose the bonds of the traditional French "Chauvinism" and musical isolationism, brought forth this musical effort on his part, clothed in native atmosphere, yet embodying the spirit of Italian music. From the private library of Isaac Lloyd Hibberd, the writer was fortunate in having access to a first edition of Le Devin du Village, which has added greatly to an appreciable understanding of the music of this work.