Submitted by Valdemir Aparecido Da Silva (valdemir.silva@unesp.br) on 2018-10-13T02:58:20Z No. of bitstreams: 1 Dissertação_Valdemir Ap da Silva_versão final.pdf: 28984860 bytes, checksum: f0e224f984b1633cd02aa82e9684f22f (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-10-15T18:32:10Z (GMT) No. of bitstreams: 1 silva_va_me_ia.pdf: 25091234 bytes, checksum: 483c1719d560c7e7fb69da13f2433ae1 (MD5) / Made available in DSpace on 2018-10-15T18:32:10Z (GMT). No. of bitstreams: 1 silva_va_me_ia.pdf: 25091234 bytes, checksum: 483c1719d560c7e7fb69da13f2433ae1 (MD5) Previous issue date: 2018-07-30 / Esta dissertação de mestrado teve como objetivo principal editar 31 obras ainda não publicadas da compositora Adelaide Pereira da Silva e produzir um catálogo comentado dessas obras. Tal trabalho justifica-se considerando se tratar de uma compositora do sexo feminino, em plena atividade, defensora e incentivadora do folclore musical brasileiro e de nossas raízes, que ao longo da sua vida assumiu cargos relevantes nesta área e possui larga experiência como professora de música em escolas e universidades de São Paulo. Para cumprir o objetivo, além da edição das obras, foi realizado um levantamento bibliográfico para conceituar e apresentar as funções direcionadas à edição de obras musicais e referendar o trabalho das mulheres nas diversas subáreas da música. Também foram efetuadas algumas entrevistas e colhidos depoimentos orais da compositora para serem incluídos no catálogo comentado das obras, além da coleta de documentos que descrevem parte da sua trajetória musical (fotos, programas de concerto, premiações, entre outros), reunidos como anexo a este trabalho. As partituras foram editadas através do software FINALE 2012 e registradas na Fundação Biblioteca Nacional (Biblioteca Nacional do Brasil). O trabalho consiste em um capítulo com um sucinto relato do trabalho musical realizado pelas mulheres brasileiras, outro descrevendo parte da trajetória da compositora e um terceiro voltado à edição de partituras. Segue-se a eles o catálogo comentado contendo, além das partituras organizadas segundo critério de instrumentação, um resumo que descreve parte deste arquivo de forma sistemática e cuja função é orientar a consulta e determinar quais são os documentos pertencentes a este instrumento de pesquisa. / The main objective of this dissertation was to edit 31 still unpublished works of the composer Adelaide Pereira da Silva, and to produce a commented catalog of these works. This work is relevant because she is a female composer in full activity, a defender and promoter of Brazilian musical folklore and its roots and who, throughout her life, has taken important positions in this area, with wide experience as a music teacher in schools and universities in São Paulo. To accomplish such objective, besides the editing of the sheet music, a bibliographical research was performed in order to conceptualize and present the functions related to the edition of musical works and to document women's work in the several subareas of music. Some interviews and oral testimonies by the composer are to be included in the commented catalog of the works, as well as the collected documents that describe part of her musical trajectory (photos, concert programs, awards, among others), which appear as annexes to this work. Sheet music was edited through FINALE 2012 software and registered at National Library Foundation (National Library of Brazil). The paper includes a chapter presenting a concise history of the musical work of Brazilian women composers, followed by a chapter partially describing the trajectory of Adelaide Pereira da Silva, and a third one, dedicated to the edition of sheet music. The commented catalog contains the sheet music, organized according to the criteria of instrumentation; a summary, intended to describe part of this file in a systematic way and whose function is to guide the consultation and determine which are the documents belonging to this research instrument.

L’objectif principal de cette étude est de mettre à jour l’œuvre de Sébastien Le Camus († 1677), un nom derrière lequel se cache également celui de son fils, Charles Le Camus († 1717), lui-même compositeur. Les 32 airs connus du père ont été rassemblés dans un recueil d’auteur posthume publié en 1678 à l’initiative du fils. En faisant appel à la métaphore du cercle avec ce recueil au centre, nous parcourons, en périphérie, l’ensemble des sources écrites qui permettaient la diffusion du genre de l’air, sérieux et spirituel, dans la seconde moitié du XVIIe siècle et au début du XVIIIe siècle : les recueils collectifs musicaux et poétiques imprimés chez Ballard, les manuscrits conservés en France et à l’étranger, un roman – Clélie de Madeleine de Scudéry – et un périodique, le Mercure galant. Les 211 airs de Sébastien et Charles Le Camus collectés à ce jour ont été détachés de ces sources pour être maintenant rassemblés dans un catalogue (vol. 3) et dans une édition musicale moderne (vol. 4). La dynastie en miniature amène à s’interroger à la fois sur l’objet « partition » et sur la notion d’auteur, questionnée puis mise au centre de notre étude (vol. 1 et 2). En maniant finement cette notion plastique, nous offrons au musicien et au musicologue une analyse tant du contexte de création des airs que du matériau musical en tant que tel. Cette analyse, qui propose un va-et-vient entre la théorie et la pratique contemporaines de nos auteurs, amène à voir l’air comme un genre en mouvement dont la vie dépend tant de son succès dans les réseaux de sociabilité que de sa faculté à être composé, décomposé et recomposé pour s’adapter aux circonstances de son exécution. / The main goal of this study is to unveil the work of Sébastien Le Camus († 1677), behind whose name one also finds that of his son, Charles Le Camus († 1717), himself a composer. A collection of the father’s 32 known airs was published posthumously in 1678 upon the son’s initiative. By means of a metaphor, where that collection is at the centre of a circle, we navigate on the circle’s periphery through the set of written sources that allowed for diffusion of the genre of the French air, both secular and sacred, in the second half of the 17th century and at the beginning of the 18th century: The collections of airs and song-texts published by Ballard, the manuscripts kept in France and abroad, a novel – Clélie by Madeleine de Scudéry – and a periodical, the Mercure galant. The 211 airs by Sébastien and Charles Le Camus collected to date, extracted from those sources, are now gathered in a catalogue (vol.3) and in a modern music edition (vol.4). The miniature dynasty leads to explore the « score » as an object as well as the notion of author, first questioned and then set at the core of our study (vol.1 and 2). By subtle handling of that flexible notion, we offer to musicians and musicologists an analysis of both the airs’ creation context and the music material itself. This analysis, based on a constant dialogue between the theory and the practice of our authors’ time, leads to viewing the air as a dynamic genre whose life depends on its success within social milieus as much as on its ability to be composed, decomposed and recomposed according to the requirements of its performance context.