Orientador: Liliana Rolfsen Petrilli Segnini / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-21T18:10:10Z (GMT). No. of bitstreams: 1 Reis_CacildaFerreirados_D.pdf: 4140281 bytes, checksum: 91fd39c1fd530dfc4dc45f66f4e2a4f4 (MD5) Previous issue date: 2012 / Résumé: Cette thèse a pour but de réfléchir sur l'activité artistique, son identification spécifique qui la distingue des autres formes de travail. À cette fin, nous aurons à analyser la trajectoire des musiciens et des danseurs qui exercent dans le marché du travail artistique au Brésil et en France. Pour étudier les conditions sociales et historiques qui ont poussé certains jeunes moins nantis du Brésil, principalement ceux de Bahia, à choisir la musique et la danse, liées à la culture afro-brésilienne comme moyen de subversion de leur statut socio-économique, bien comme leurs performances dans le domaine artistique dans les deux pays nous ont amené à construire une problématisation, du point de vue sociologique. Nous avons cherché à comprendre les stratégies individuelles et collectives mises en place par ces sujets en vue de la recherche d'une formation et d'insertion professionnelle dans le domaine du travail artistique, mettent l'accent sur le rôle des réseaux sociaux dans les contextes en étude. L'analyse des trajectoires de ces sujets (recueillies par entretiens semi-structurés, observation participante et les notes quotidiennes prises sur le terrain) nous a permis de prendre en considération les différentes dimensions: l'éducation, la famille, la sociabilité, l'association, la communauté religieuse, le genre ethnique et raciale, les générations, les migrations internationales, le rôle de l'état et la configuration des politiques publiques brésilienne et française. Au Regard de la singularité des trajectoires des sujets à l'étude, les aspects importants qui rendent compte de l'organisation du travail artistique au Brésil, ont contribué au processus de migration. Nous avons constaté que le marché du travail de ces professionnels au Brésil et en France, ont des configurations différentes, en raison de politiques sociales, culturelles, économiques et publics qui marque profondément les deux contextes étudiés / Resumo: Esta tese teve como objetivo refletir sobre a atividade artística, identificando suas especificidades, distinguindo-a das outras formas de trabalho. Com tal propósito, analisamos a trajetória de músicos e dançarinos atuantes no mercado de trabalho artístico no Brasil e na França. Para investigar as condições sociais e históricas que impulsionaram alguns jovens pobres do Brasil, em particular na Bahia, a escolherem a música e a dança, vinculadas à cultura afro-brasileira, como meio de subversão da sua condição socioeconômica, assim como sua atuação nos mercados de trabalho no campo artístico nos dois países, fomos instigados a construir uma problematização, a partir da perspectiva sociológica. Buscamos, assim, compreender as estratégias individuais e coletivas acionadas por esses sujeitos, na busca de uma formação profissional e inserção no campo de trabalho artístico, enfatizando o papel das redes sociais acionadas nos contextos em estudo. A análise das trajetórias destes sujeitos (coletadas por meio da entrevista semiestruturada, da observação participante e das anotações em diário de campo) nos possibilitou considerar diferentes dimensões: educacionais, familiares, sociabilidades, associativas, comunitárias, religiosas, de gênero, étnico-raciais, geracional, migração internacional e do papel do Estado e da configuração das políticas públicas brasileiras e francesas. Observarmos, por meio da singularidade das trajetórias dos sujeitos em estudo, aspectos importantes que conformam a organização do trabalho artístico no Brasil e que contribuíram para o processo migratório. Verificamos que o mercado de trabalho para esses profissionais no, Brasil e na França, apresenta configurações distintas, em decorrência de questões sociais, culturais, econômicas e de políticas públicas que marcam, profundamente, os dois contextos pesquisados / Abstract: The object of this thesis is to reflect on the artistic activity, identifying its specificities, distinguishing it from other work forms. For this purpose, we have analyzed the trajectory of musicians and dancers active in the artistic scene in Brazil and France. In order to investigate the social and historical conditions that drove some of the young poor in Brazil, particularly in Bahia, to choose music and dance linked to Afro-Brazilian culture as a means of subverting their socioeconomic situation, as well as their position in the artistic labor market in both countries, we were instigated to apply a sociological approach. To this end, we endeavored to understand the individual and collective strategies adopted by these subjects in their search for a professional education, and insertion in the artistic work force, emphasizing the role of social networks in the contexts under study. The analysis of their trajectory (collected through semi-structured interviews, participatory observations and notes in field diaries) enabled us to consider different aspects: educational, family, sociability, associative, communitarian, religious, gender, ethnic-racial, generational, and international migration, as well as the role of the State and the configuration of public policies both in Brazil and France. Through the singularity of the trajectories of these subjects, we observed important aspects that shape the organization of artistic work in Brazil, which contributed to the migratory process. We ascertained that the labor market for these professionals in Brazil and France has distinct features, resulting from social, cultural and economic issues, as well as public policies that have a deep impact on the two contexts researcheD / Doutorado / Ciencias Sociais / Doutora em Ciências Sociais

The problem which is reported in these pages represents an attempt on the part of the writer to discover whether the music curriculum of the Denton Senior High School is meeting the personality needs of the students of the school. In order to discover a starting-point from which to attack this problem, the writer administered standardized personality and music tests to the students enrolled in her music classes. The results of these tests form the primary basis of the investigation and of this thesis.

From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.