A presente tese teve como motivação inicial a confecção de um método de ensino de piano em grupo para utilização nos cursos de piano complementar das universidades brasileiras. Neste trabalho, relatam-se as etapas e processos reflexivos percorridos por este autor durante esta empreitada. Primeiramente, foi feita uma pesquisa histórica a respeito do surgimento do piano em grupo na Europa e nos Estados Unidos, chegando-se até às tecnologias utilizadas atualmente, assim como uma análise do cenário relativo ao ensino do piano em grupo e da disciplina de piano complementar nas universidades brasileiras. No segundo capítulo, apresenta-se uma análise crítica e comparativa dos mais importantes métodos de ensino em grupo existentes atualmente. O capítulo final descreve a organização do método considerada ideal para uma proposta de método de ensino de piano em grupo nas universidades brasileiras e apresenta parte dos exercícios confeccionados para o desenvolver cada uma das habilidades funcionais que são trabalhadas nos diversos capítulos do método elaborado ao longo desta pesquisa, assim como o porquê das escolhas envolvidas em sua confecção. / This thesis had as its impetus the development of a group piano method designed for college level piano classes in the universities of Brazil. The purpose of this work is to reflect upon the process used in this endeavor. The first chapter presents a historical background from the beginnings of group piano instruction in Europe and the United States until its culmination in the technological era. It also examines group piano teaching in the secondary piano courses among Brazilian universities. The second chapter is a comparative analysis of the most important group piano methods currently in use. The final chapter describes the format and function considered ideal as a basis for the method of group piano teaching in Brazilian universities. Furthermore, it presents a sample of the exercises composed to develop each of the piano skills that are presented throughout the chapters of the method produced alongside with this research, as well as the rationale involved in its creation.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (http://www.bib.umontreal.ca/MU). / La carrière du pianiste-compositeur Émiliano Renaud (1875-1932) est peu connue. Surnommé le «Paderewski canadien», il est le premier virtuose québécois à avoir établi, à l’instar du maître polonais, de nouveaux standards dans la présentation des récitals, à une époque où ces concerts affichaient surtout des programmes constitués d’extraits de pièces rarement exécutés par un seul interprète et proposés la plupart du temps, sous forme de pot-pourri. Il est également le premier musicien à avoir utilisé la nouvelle technologie de la radio à des fins pédagogiques et l’un des rares compositeurs de l’époque à avoir été édité aux États-Unis. Formé à Vienne et à Berlin auprès de virtuoses renommés, il poursuit d’abord une carrière d’enseignant au Conservatoire d’Indianapolis avant de s’installer à New York du-rant quelques années où il élabore une méthode d’apprentissage du piano. Il revient défini-tivement à Montréal en 1921 et s’implique dans de nombreuses activités musicales : récitals, composition, enseignement et édition. Notre recherche, la première sur le sujet, retrace les principaux jalons de la carrière de ce virtuose du piano au début du vingtième siècle, tout en la situant dans le contexte cul-turel et musical de l’époque. Nous souhaitons ainsi réhabiliter un musicien relégué injuste-ment dans l’oubli après son décès et qui a contribué, à sa manière, au développement de la vie musicale du Québec; tout en nous interrogeant sur la perception de la virtuosité dans la presse musicale de cette époque. Les annexes offrent quelques points de repère dont une chronologie, une liste de son répertoire ainsi qu’un inventaire de ses œuvres. / Little is known of the career of composer and pianist Émiliano Renaud (1875-1932). Called the “Canadian Paderewski”, Renaud is the first Quebec virtuoso to have set up, as his Polish master, new standards in recitals, at a time when concerts mainly offered programs made of a mixture of excerpts rarely played by a single interpreter. Émiliano Renaud is also the first musician to have used the new technology of the radio for pedagogical purposes, as well as one of the few composers of the time to have had his works edited in the United States. Trained in Vienna and Berlin by renowned masters, he first pursued a teaching career at Indianapolis Music School before moving to New York for a few years, where he created a piano learning method. He moved permanently to Montreal in 1921 and was involved in numerous musical activities: giving recitals, composing, teaching and editing. This study, the first on the subject, traces the landmarks of Renaud’s career as a virtuoso at the beginning of the twentieth century. It offers a broad cultural and musical frame through which to assess the artist’s achievements. One of the main aims of this research is to rehabilitate Émiliano Renaud, undeservedly cast into oblivion after his death. This rehabilitation is all the more necessary as Renaud contributed, in his own way, to developing Quebec’s musical life. In a related way, this study also tackles the issue of the reception of the phenomenon of virtuosity by the critics at that period. Annexes provide benchmarks, including a chronology, a list of the musician’s repertoire, and an inventory of his works.

Fils d’un facteur de piano, Pierre Joseph Guillaume Zimmerman (1785-1853), virtuose, pédagogue, compositeur et homme du monde, trouve sa place au sein d’une pléiade de promoteurs du piano et de la littérature pianistique. Son originalité réside dans la dualité que l’on distingue entre, d’une part, sa conscience de compositeur académique héritée de Cherubini et, d’autre part, cet esprit novateur que lui inspira la modernisation de la facture instrumentale dont il suivit et entérina l’évolution. Cette thèse se veut la première monographie qui envisage les activités nombreuses et variées dans lesquelles le musicien s’illustra aux différentes époques de sa vie. La première partie traite de ses origines et de l’époque d’avant 1831. Nous nous intéressons à ses études au Conservatoire, à sa première carrière pédagogique, à ses mariages, à ses œuvres classiques pianistiques (la Sonate op. 5 et les deux concertos) et à ses deux opéras. La deuxième partie porte sur la période de 1831 à 1845. Nous parlons des lauréats sortis de sa classe qui se multiplient à l’époque, de sa méthode Encyclopédie du pianiste compositeur qui favorise le genre des études, ainsi que des soirées musicales qu’il organise dans son appartement du Square d’Orléans. La troisième partie étudie la période post-Cherubini, de 1842 à 1853. Nous y abordons sa contribution à l’organisation de l’Association des artistes musiciens, ses deux messes, ses dernières années comme professeur au Conservatoire, ainsi que l’époque postérieure à sa retraite en 1848. Le second volume d’annexes complète cette étude en présentant un arbre généalogique, les portraits et les états civils des Zimmerman, ses lettres et d’autres documents. / Born as the eldest son of a piano manufacturer, Pierre Joseph Guillaume Zimmerman (1785-1853) was one of the piano promoters in the first half of the nineteenth century, this can clearly be seen from his activities as a piano virtuoso, educator, composer and socialite. His unique role consisted of his dual occupation as a successor to Cherubini in academic composition, and also his role as a passionate supporter of the modernization of the piano. This thesis is a monographic study of Zimmermann, and explores the multiple aspects of the activities in which the musician became famous for in different periods of his life. In the first part, I discuss his origins and his life before 1831. I discuss his studies at the Conservatoire, his first pedagogical contributions, his marriages, his classical piano works (Sonata op.5 and two concertos) and two operas. The second part covers the period from 1831 to 1842. I consider the increase in the number of students from his class who became winners of the annual piano competition, his method Encyclopédie du pianiste compositeur – which favours the études as a genre – and the salon concerts that he organized at his apartment in the Square d’Orléans. The third and final part relates to the post-Cherubini period from 1842 to 1853 in which I focus on his contribution to the organization of the Association des artistes musiciens, his two masses, his last years as a professor of Conservatoire, and the life after his retirement in 1848. The information provided in the second volume of annexes also highly complement this study by presenting a family tree, his portraits, civil registers of the Zimmermans, his letters and the other documents.