Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 193-199).

Esta Tese procura problematizar as feiras, mostras e exposições da educação profissional e tecnológica como espaços educativo-produtivos que operam tanto no âmbito do desenvolvimento de saberes que escapam ao ambiente escolar formal, e que, portanto, são de difícil desenvolvimento, objetivação e formalização nas salas de aulas e laboratórios, quanto no âmbito da formação das subjetividades trabalhadoras, entendendo estas estratégias como uma forma de governo das condutas dos estudantes-trabalhadores, ou como uma forma de governamento da sociedade. Para tal problematização, utilizei como lócus privilegiado de análise uma das maiores mostras de trabalhos técnicos da América Latina, a Mostratec (Mostra Brasileira/Internacional de Ciência e Tecnologia). De forma geral, pretendi analisar como esta mostra conduz as condutas dos estudantes-trabalhadores, tomando o conceito de governamentalidade como o fio condutor de minha pesquisa, de forma que ele atravessasse minhas incursões pelas teorizações e pelas análises realizadas. De forma mais detalhada, tentei mostrar que as feiras, mostras e exposições da educação técnica profissionalizante operam como lócus privilegiado para a formação das subjetividades dos estudantes-trabalhadores, formação essa que se dá a partir de dois processos ou tratamentos da subjetividade — sujeição social e servidão maquínica — que são complementares, interdependentes e que contribuem para o funcionamento da educação escolar e do próprio neoliberalismo. Argumenta-se que os deslocamentos contemporâneos no mundo do trabalho e na produção fazem com que algumas das tecnologias de governamento da sociedade sejam revalorizadas e reelaboradas no novo contexto do ensino técnico profissionalizante, que tem se apresentado, historicamente, como um sintoma implicado do desenvolvimento das forças produtivas. Considerando-se que a formação do estudante-trabalhador, vinculada às novas necessidades do trabalho contemporâneo, depende cada vez mais do seu caráter imaterial e da produção e do investimento cada vez mais precoce de si mesmo, ou seja, representa um processo onde o “produto” do aprendizado é inseparável do ato de produzir, podemos considerar que a produção escolar-empresarial se aproxima de uma execução virtuosística característica de atividades que encontram seu próprio cumprimento em si mesmas e que exigem a presença de um público. Busquei mostrar que feiras, mostras e exposições da educação profissional e tecnológica operam como estratégias neoliberais de governamento, tanto como um espaço público estatal que permite aos estudantes-trabalhadores executarem seu virtuosismo na presença do outro, quanto como estratégias para o desenvolvimento de saberes que escapam ao ambiente escolar formal. Por outro lado, também visam o desenvolvimento da individualização e da desigualdade concorrencial, bem como o bloqueio e a interrupção do excedente dos processos cognitivos, dos movimentos de cooperação, conhecimento e linguagem, visto que, para existir, o capital precisa bloquear os processos de captação social do valor, porque estes são excedentes, vão além de sua capacidade de comando. / This thesis seeks to problematize the fairs and exhibitions of professional and technological education as educational-productive spaces that operate both in the scope of the development of knowledges that escape the formal school environment, and which, therefore, are difficult to develop, objectify and formalize in the classrooms and laboratories, and in the context of the formation of working subjectivities, understanding these strategies as a form of governing student-worker behavior, or as a form of governing society. For this problematization, I used as the privileged locus of analysis one of the largest exhibitions of technical works in Latin America, the Mostratec (Mostra Brasileira / Internacional de Ciencia e Tecnologia). In general, I intended to analyze how this show conducts student-worker behaviors, taking the concept of governmentality as the guiding thread of my research, so that it crosses my incursions by the theorizations and the analyzes carried out. In a more detailed way, I have tried to show that the fairs, exhibitions and exhibitions of vocational technical education operate as a privileged locus for the formation of subjectivities of student-workers, a formation that takes place from two processes or treatments of subjectivity - social subjection and machinic servitude - which are complementary, interdependent and contribute to the functioning of school education and neoliberalism itself. It is argued that contemporary displacements in the world of work and production mean that some of the technologies of society governance are revalued and reworked in the new context of vocational technical education, which has performed historically, as a implicated symptom of productive forces development. Considering that the formation of student-worker, linked to new contemporary work needs, increasingly depends on its intangible character, production and the investment itself ever more precocious, is a process where the "product" of learning is inseparable from the act of producing, we can consider that the school-enterprise production approaches a feature virtuosic execution of activities that find their own fulfillment in themselves and which require the presence of a public. To analyze and discuss the fairs, shows and exhibitions of professional and technological education, we seek to show that they operate as neoliberalist strategies of government, both as a state public space that allows student-workers to perform their virtuosity in the presence of other, and as strategies for the development of knowledge that flee the formal school environment. On the other hand, also aimed at the development of individualization and the competitive inequality, as well as blocking and stopping surplus of cognitive processes, movements of cooperation, knowledge and language, since to exist, the capital needs to block the process social capture of value, because these are surplus beyond their ability to command.

This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition. The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969. The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities. / Music

Esta Tese procura problematizar as feiras, mostras e exposições da educação profissional e tecnológica como espaços educativo-produtivos que operam tanto no âmbito do desenvolvimento de saberes que escapam ao ambiente escolar formal, e que, portanto, são de difícil desenvolvimento, objetivação e formalização nas salas de aulas e laboratórios, quanto no âmbito da formação das subjetividades trabalhadoras, entendendo estas estratégias como uma forma de governo das condutas dos estudantes-trabalhadores, ou como uma forma de governamento da sociedade. Para tal problematização, utilizei como lócus privilegiado de análise uma das maiores mostras de trabalhos técnicos da América Latina, a Mostratec (Mostra Brasileira/Internacional de Ciência e Tecnologia). De forma geral, pretendi analisar como esta mostra conduz as condutas dos estudantes-trabalhadores, tomando o conceito de governamentalidade como o fio condutor de minha pesquisa, de forma que ele atravessasse minhas incursões pelas teorizações e pelas análises realizadas. De forma mais detalhada, tentei mostrar que as feiras, mostras e exposições da educação técnica profissionalizante operam como lócus privilegiado para a formação das subjetividades dos estudantes-trabalhadores, formação essa que se dá a partir de dois processos ou tratamentos da subjetividade — sujeição social e servidão maquínica — que são complementares, interdependentes e que contribuem para o funcionamento da educação escolar e do próprio neoliberalismo. Argumenta-se que os deslocamentos contemporâneos no mundo do trabalho e na produção fazem com que algumas das tecnologias de governamento da sociedade sejam revalorizadas e reelaboradas no novo contexto do ensino técnico profissionalizante, que tem se apresentado, historicamente, como um sintoma implicado do desenvolvimento das forças produtivas. Considerando-se que a formação do estudante-trabalhador, vinculada às novas necessidades do trabalho contemporâneo, depende cada vez mais do seu caráter imaterial e da produção e do investimento cada vez mais precoce de si mesmo, ou seja, representa um processo onde o “produto” do aprendizado é inseparável do ato de produzir, podemos considerar que a produção escolar-empresarial se aproxima de uma execução virtuosística característica de atividades que encontram seu próprio cumprimento em si mesmas e que exigem a presença de um público. Busquei mostrar que feiras, mostras e exposições da educação profissional e tecnológica operam como estratégias neoliberais de governamento, tanto como um espaço público estatal que permite aos estudantes-trabalhadores executarem seu virtuosismo na presença do outro, quanto como estratégias para o desenvolvimento de saberes que escapam ao ambiente escolar formal. Por outro lado, também visam o desenvolvimento da individualização e da desigualdade concorrencial, bem como o bloqueio e a interrupção do excedente dos processos cognitivos, dos movimentos de cooperação, conhecimento e linguagem, visto que, para existir, o capital precisa bloquear os processos de captação social do valor, porque estes são excedentes, vão além de sua capacidade de comando. / This thesis seeks to problematize the fairs and exhibitions of professional and technological education as educational-productive spaces that operate both in the scope of the development of knowledges that escape the formal school environment, and which, therefore, are difficult to develop, objectify and formalize in the classrooms and laboratories, and in the context of the formation of working subjectivities, understanding these strategies as a form of governing student-worker behavior, or as a form of governing society. For this problematization, I used as the privileged locus of analysis one of the largest exhibitions of technical works in Latin America, the Mostratec (Mostra Brasileira / Internacional de Ciencia e Tecnologia). In general, I intended to analyze how this show conducts student-worker behaviors, taking the concept of governmentality as the guiding thread of my research, so that it crosses my incursions by the theorizations and the analyzes carried out. In a more detailed way, I have tried to show that the fairs, exhibitions and exhibitions of vocational technical education operate as a privileged locus for the formation of subjectivities of student-workers, a formation that takes place from two processes or treatments of subjectivity - social subjection and machinic servitude - which are complementary, interdependent and contribute to the functioning of school education and neoliberalism itself. It is argued that contemporary displacements in the world of work and production mean that some of the technologies of society governance are revalued and reworked in the new context of vocational technical education, which has performed historically, as a implicated symptom of productive forces development. Considering that the formation of student-worker, linked to new contemporary work needs, increasingly depends on its intangible character, production and the investment itself ever more precocious, is a process where the "product" of learning is inseparable from the act of producing, we can consider that the school-enterprise production approaches a feature virtuosic execution of activities that find their own fulfillment in themselves and which require the presence of a public. To analyze and discuss the fairs, shows and exhibitions of professional and technological education, we seek to show that they operate as neoliberalist strategies of government, both as a state public space that allows student-workers to perform their virtuosity in the presence of other, and as strategies for the development of knowledge that flee the formal school environment. On the other hand, also aimed at the development of individualization and the competitive inequality, as well as blocking and stopping surplus of cognitive processes, movements of cooperation, knowledge and language, since to exist, the capital needs to block the process social capture of value, because these are surplus beyond their ability to command.

Esta Tese procura problematizar as feiras, mostras e exposições da educação profissional e tecnológica como espaços educativo-produtivos que operam tanto no âmbito do desenvolvimento de saberes que escapam ao ambiente escolar formal, e que, portanto, são de difícil desenvolvimento, objetivação e formalização nas salas de aulas e laboratórios, quanto no âmbito da formação das subjetividades trabalhadoras, entendendo estas estratégias como uma forma de governo das condutas dos estudantes-trabalhadores, ou como uma forma de governamento da sociedade. Para tal problematização, utilizei como lócus privilegiado de análise uma das maiores mostras de trabalhos técnicos da América Latina, a Mostratec (Mostra Brasileira/Internacional de Ciência e Tecnologia). De forma geral, pretendi analisar como esta mostra conduz as condutas dos estudantes-trabalhadores, tomando o conceito de governamentalidade como o fio condutor de minha pesquisa, de forma que ele atravessasse minhas incursões pelas teorizações e pelas análises realizadas. De forma mais detalhada, tentei mostrar que as feiras, mostras e exposições da educação técnica profissionalizante operam como lócus privilegiado para a formação das subjetividades dos estudantes-trabalhadores, formação essa que se dá a partir de dois processos ou tratamentos da subjetividade — sujeição social e servidão maquínica — que são complementares, interdependentes e que contribuem para o funcionamento da educação escolar e do próprio neoliberalismo. Argumenta-se que os deslocamentos contemporâneos no mundo do trabalho e na produção fazem com que algumas das tecnologias de governamento da sociedade sejam revalorizadas e reelaboradas no novo contexto do ensino técnico profissionalizante, que tem se apresentado, historicamente, como um sintoma implicado do desenvolvimento das forças produtivas. Considerando-se que a formação do estudante-trabalhador, vinculada às novas necessidades do trabalho contemporâneo, depende cada vez mais do seu caráter imaterial e da produção e do investimento cada vez mais precoce de si mesmo, ou seja, representa um processo onde o “produto” do aprendizado é inseparável do ato de produzir, podemos considerar que a produção escolar-empresarial se aproxima de uma execução virtuosística característica de atividades que encontram seu próprio cumprimento em si mesmas e que exigem a presença de um público. Busquei mostrar que feiras, mostras e exposições da educação profissional e tecnológica operam como estratégias neoliberais de governamento, tanto como um espaço público estatal que permite aos estudantes-trabalhadores executarem seu virtuosismo na presença do outro, quanto como estratégias para o desenvolvimento de saberes que escapam ao ambiente escolar formal. Por outro lado, também visam o desenvolvimento da individualização e da desigualdade concorrencial, bem como o bloqueio e a interrupção do excedente dos processos cognitivos, dos movimentos de cooperação, conhecimento e linguagem, visto que, para existir, o capital precisa bloquear os processos de captação social do valor, porque estes são excedentes, vão além de sua capacidade de comando. / This thesis seeks to problematize the fairs and exhibitions of professional and technological education as educational-productive spaces that operate both in the scope of the development of knowledges that escape the formal school environment, and which, therefore, are difficult to develop, objectify and formalize in the classrooms and laboratories, and in the context of the formation of working subjectivities, understanding these strategies as a form of governing student-worker behavior, or as a form of governing society. For this problematization, I used as the privileged locus of analysis one of the largest exhibitions of technical works in Latin America, the Mostratec (Mostra Brasileira / Internacional de Ciencia e Tecnologia). In general, I intended to analyze how this show conducts student-worker behaviors, taking the concept of governmentality as the guiding thread of my research, so that it crosses my incursions by the theorizations and the analyzes carried out. In a more detailed way, I have tried to show that the fairs, exhibitions and exhibitions of vocational technical education operate as a privileged locus for the formation of subjectivities of student-workers, a formation that takes place from two processes or treatments of subjectivity - social subjection and machinic servitude - which are complementary, interdependent and contribute to the functioning of school education and neoliberalism itself. It is argued that contemporary displacements in the world of work and production mean that some of the technologies of society governance are revalued and reworked in the new context of vocational technical education, which has performed historically, as a implicated symptom of productive forces development. Considering that the formation of student-worker, linked to new contemporary work needs, increasingly depends on its intangible character, production and the investment itself ever more precocious, is a process where the "product" of learning is inseparable from the act of producing, we can consider that the school-enterprise production approaches a feature virtuosic execution of activities that find their own fulfillment in themselves and which require the presence of a public. To analyze and discuss the fairs, shows and exhibitions of professional and technological education, we seek to show that they operate as neoliberalist strategies of government, both as a state public space that allows student-workers to perform their virtuosity in the presence of other, and as strategies for the development of knowledge that flee the formal school environment. On the other hand, also aimed at the development of individualization and the competitive inequality, as well as blocking and stopping surplus of cognitive processes, movements of cooperation, knowledge and language, since to exist, the capital needs to block the process social capture of value, because these are surplus beyond their ability to command.

Pablo de Sarasate (1844-1908) contributed to the development of violin performance through his innovative virtuosic techniques and popular Spanish characteristics, and his influence on violin performing style remains even in the present day. He composed virtuosic compositions to showcase his excellent technique, and well-known composers of the time such as Camille Saint-Saëns and Edouardo Lalo composed for him as well. These compositions include not only virtuosity but also Spanish characteristics that were suitable to Sarasate's nationalistic heritage. The combination of Spanish and virtuosic characteristics made these pieces as standard violin repertoire for modern violinists. At the end of the nineteenth century, it was his distinct performance style that broke the boundary of technical virtuosity in violin performing. The following generations - Kreisler, Heihetz, and in the present day, Isaac Permann - developed their performance techniques based on Sarasate's performance style. To examine Saraste's influences and contributions to the development of violin performing style, this dissertation focuses on Sarasate's performance practices, his technical developments, his unique style of playing, and his music to discuss his influences on composers and violinists alike. This study places Sarasate's performance style in the context of nineteenth- and twentieth-century violin performance practices through a discussion of major violin schools such as Franco-Belgian and German schools. The study is of Sarasate's repertoire such as his Zigeunerweizen and Saint-Saëns's Introduction and Rondo Capriccioso, which offers an interpretation of Sarasate's contributions to the development of violin literature and performance practice. Since his performance style can be observed not only in the scores and commentary of his contemporaries but also in recordings, this study also includes a comparison of recordings by various violinists such as Sarasate, Kreisler, and Heifetz to reinforce the discussion of individual performing styles and Sarasate's influences. Through his contributions to the development of violin performance, Sarasate made himself one of the most renowned figures in the history of the violin.

Cette recherche met en parallèle les cultures germanophone et francophone par l’entremise de l’histoire de la contrebasse. La problématique consiste à expliquer l’absence de littérature en français sur l’école viennoise de contrebasse, qui s’est développée dans la seconde moitié du XVIIIe siècle et qui a eu une certaine incidence sur le développement de cet instrument. La première section propose une biographie des principaux représentants de cette école, tous contrebassistes virtuoses actifs à Vienne autour de 1750. Suivent un tour d’horizon des œuvres pour contrebasse concertante du classicisme viennois, puis un rappel historique sur le déclin de cette école. Dans la deuxième section, un parallèle est tracé entre l’avancée du violoncelle et le recul de la contrebasse au XIXe siècle. Suivent une présentation des instruments les plus appréciés de cette époque, à savoir le piano, le cor français et le violoncelle, puis une comparaison entre l’évolution de la contrebasse en France et dans les pays germanophones au XIXe siècle. Finalement, la troisième section est consacrée à la renaissance de l’école viennoise de contrebasse, amorcée au milieu du XXe siècle. Pour observer le déploiement de cette évolution dans les cultures française, germanophone et anglo-saxonne, cette section comporte un examen des œuvres publiées par les maisons d’édition spécialisées en musique ainsi que de celles enregistrées par les contrebassistes. / This research draws a parallel between the German and the French cultures through the history of the double bass. The problematic consists in explaining the absence of literature in French about the Viennese school of bass playing, which developed in the second half of the 18th century and had a certain impact on the development of this instrument. The first section proposes a biography of the main representatives of this school, which where all virtuosos double bassists in Vienna around 1750. This is followed by an overview of works for solos double bass of the First Viennese School, and a brief history of the decline of this school. In the second section a parallel is drawn between the progress of the violoncello and the decline of the double bass in the 19th century. This is followed by a presentation of the most appreciated instruments of this era, i.e. the piano, the French horn and the violoncello, and a comparison between the evolution of the double bass in France and in the German speaking countries in the 19th century. Finally, the third section is dedicated to the renaissance of the Viennese school of bass playing, which was initiated half way through the 20th century. To look closer to this evolution in the French, German and Anglo-Saxon cultures, this section also includes a review of works published by music publishers and those recorded by double bassists. / Diese Forschung will zwei Kulturen, die deutschsprachige und die französische, in Verbindung mit der Geschichte des Kontrabasses bringen. Die Fragestellung besteht darin, das Versäumnis der französischen Literatur über die Wiener Kontrabassschule zu erklären, eine Schule die sich in der zweiten Hälfte des 18. Jahrhunderts entwickelt und die eine Wirkung auf die Entwicklung dieses Instrumentes gehabt hat. Im ersten Abschnitt wird eine kurze Biographie der Hauptvertreter dieser Schule vorgeschlagen, die alle Kontrabassvirtuose und um 1750 in Wien tätig waren. Es folgt ein Überblick der Werke der Wiener Klassik für konzertanten Kontrabass, dann ein historischer Exkurs über den Niedergang dieser Schule. Im zweiten Abschnitt wird eine Parallele zwischen dem Vorsprung des Violoncellos und dem Rückgang des Kontrebasses im 19. Jahrhundert gezogen. In diesem Abschnitt werden desweiteren die bevorzugten Instrumente dieser Epoche, nämlich das Klavier, das Horn und das Violoncello diskutiert, und die Entwicklung des Kontrabasses in Frankreich und im deutschsprachigen Raum im 19. Jahrhundert verglichen. Schließlich widmet sich der dritte Abschnitt der Renaissance der Wiener Kontrabassschule, die in der Mitte des 20. Jahrhunderts begann. Um eine richtige Betrachtung der Entfaltung dieser Entwicklung in den französischen, deutschsprachigen und angelsächsischen Kulturen zu ermöglichen, findet sich in diesem Abschnitt ebenfalls eine Untersuchung der Werke, die von den Musikverlagen veröffentlicht wurden wie auch derjenigen, die von den Kontrabassisten aufgenommenen wurden.

Cette recherche met en parallèle les cultures germanophone et francophone par l’entremise de l’histoire de la contrebasse. La problématique consiste à expliquer l’absence de littérature en français sur l’école viennoise de contrebasse, qui s’est développée dans la seconde moitié du XVIIIe siècle et qui a eu une certaine incidence sur le développement de cet instrument. La première section propose une biographie des principaux représentants de cette école, tous contrebassistes virtuoses actifs à Vienne autour de 1750. Suivent un tour d’horizon des œuvres pour contrebasse concertante du classicisme viennois, puis un rappel historique sur le déclin de cette école. Dans la deuxième section, un parallèle est tracé entre l’avancée du violoncelle et le recul de la contrebasse au XIXe siècle. Suivent une présentation des instruments les plus appréciés de cette époque, à savoir le piano, le cor français et le violoncelle, puis une comparaison entre l’évolution de la contrebasse en France et dans les pays germanophones au XIXe siècle. Finalement, la troisième section est consacrée à la renaissance de l’école viennoise de contrebasse, amorcée au milieu du XXe siècle. Pour observer le déploiement de cette évolution dans les cultures française, germanophone et anglo-saxonne, cette section comporte un examen des œuvres publiées par les maisons d’édition spécialisées en musique ainsi que de celles enregistrées par les contrebassistes. / This research draws a parallel between the German and the French cultures through the history of the double bass. The problematic consists in explaining the absence of literature in French about the Viennese school of bass playing, which developed in the second half of the 18th century and had a certain impact on the development of this instrument. The first section proposes a biography of the main representatives of this school, which where all virtuosos double bassists in Vienna around 1750. This is followed by an overview of works for solos double bass of the First Viennese School, and a brief history of the decline of this school. In the second section a parallel is drawn between the progress of the violoncello and the decline of the double bass in the 19th century. This is followed by a presentation of the most appreciated instruments of this era, i.e. the piano, the French horn and the violoncello, and a comparison between the evolution of the double bass in France and in the German speaking countries in the 19th century. Finally, the third section is dedicated to the renaissance of the Viennese school of bass playing, which was initiated half way through the 20th century. To look closer to this evolution in the French, German and Anglo-Saxon cultures, this section also includes a review of works published by music publishers and those recorded by double bassists. / Diese Forschung will zwei Kulturen, die deutschsprachige und die französische, in Verbindung mit der Geschichte des Kontrabasses bringen. Die Fragestellung besteht darin, das Versäumnis der französischen Literatur über die Wiener Kontrabassschule zu erklären, eine Schule die sich in der zweiten Hälfte des 18. Jahrhunderts entwickelt und die eine Wirkung auf die Entwicklung dieses Instrumentes gehabt hat. Im ersten Abschnitt wird eine kurze Biographie der Hauptvertreter dieser Schule vorgeschlagen, die alle Kontrabassvirtuose und um 1750 in Wien tätig waren. Es folgt ein Überblick der Werke der Wiener Klassik für konzertanten Kontrabass, dann ein historischer Exkurs über den Niedergang dieser Schule. Im zweiten Abschnitt wird eine Parallele zwischen dem Vorsprung des Violoncellos und dem Rückgang des Kontrebasses im 19. Jahrhundert gezogen. In diesem Abschnitt werden desweiteren die bevorzugten Instrumente dieser Epoche, nämlich das Klavier, das Horn und das Violoncello diskutiert, und die Entwicklung des Kontrabasses in Frankreich und im deutschsprachigen Raum im 19. Jahrhundert verglichen. Schließlich widmet sich der dritte Abschnitt der Renaissance der Wiener Kontrabassschule, die in der Mitte des 20. Jahrhunderts begann. Um eine richtige Betrachtung der Entfaltung dieser Entwicklung in den französischen, deutschsprachigen und angelsächsischen Kulturen zu ermöglichen, findet sich in diesem Abschnitt ebenfalls eine Untersuchung der Werke, die von den Musikverlagen veröffentlicht wurden wie auch derjenigen, die von den Kontrabassisten aufgenommenen wurden.

Cette étude porte sur un corpus de toccatas et toccatinas pour piano écrites dans le monde entier de 1781 jusqu’à 1993. Elle a pour objectif de comprendre ce que signifie le terme « toccata » tout au long de l’histoire, quelle sont les diverses caractéristiques du genre à travers les périodes différentes, et quel est le rapport entre la toccata pour piano et l’esthétique de la virtuosité. L’auteur commence par observer l’évolution de la compréhension du terme sous les yeux des savants et des érudits de différentes époques, et une série de toccatas pour orgue et clavecin de Johann Sebastien Bach et d’Alessandro Scarlatti, afin de démontrer les caractéristiques principales du genre avant sa transmutation instrumentale. L’étape suivante consiste en une étude analytique du corpus principal. Elle décrit la transformation de la toccata de type pédagogique en un genre de niveau supérieur à l’exercice par son exigence architecturale et son animation. La toccata se dirige ensuite vers un esthétique extrême et surhumaine au XXe siècle. Par ailleurs, elle reflète la grande diversité des types de virtuosité dans des époques différente : celle créative et improvisatrice du temps de Bach, celle des techniques digitales raffinées de la génération de Clementi, etc. Aujourd’hui, avec une esthétique de virtuosité qui prend de plus en plus en compte l’aspect athlétique, la toccata, souvent accompagnée des techniques pianistiques stimulantes, devient une façon idéale de démontrer les capacités extraordinaires du pianiste, ce qui constitue les raisons de son succès auprès des compositeurs, des pianistes, et des auditeurs. / This study relies on a corpus of piano toccatas and toccatinas written in the world from 1781 to 1993. Its purpose is to understand what the term ‘‘toccata’’ means throughout history, what are the various characteristics of the genre in different periods, and what is the relationship between the toccata for piano and the aesthetics of virtuosity. The author starts by observing the evolution of the understanding of the term by scholars living in different eras, and a series of organ and harpsichord toccatas by Johann Sebastian Bach and Alessandro Scarlatti, in order to demonstrate the principal features of the genre before its instrumental transmutation. The next stage consists of an analytical study of the main corpus which designates the transformation of the toccata from a pedagogical genre to that of a higher level by its architectural requirement and its animation, then to one that moves towards an extreme and superhuman aesthetic in the twentieth century. Finally, the study shows that the toccata represents a diversity of types of virtuosity in different eras: the creative and improvisatory type in Bach’s time, the refined digital techniques of Clementi’s generation, etc. Today, with an aesthetic of virtuosity that increasingly takes into account the athletic aspect, the toccata, often accompanied by stimulating piano techniques, becomes an ideal way of demonstrating the extraordinary abilities of the pianist, which constitutes its success among composers, pianists, and listeners.

Made available in DSpace on 2015-05-14T12:39:59Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 7738477 bytes, checksum: 48a482d7678d955e3b53a8f8aaca2303 (MD5) Previous issue date: 2014-03-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Taking into account the most diverse discourses about musical practices in Western civilization, it can be seen that what was built up around the phenomenon of virtuosity was significantly present at several moments in the history of this art. The discourses for, and even those against, the presence of virtuosity in music show that, besides being real, this presence has the power to shape the society in which it operates. This research rests its theoretical and analytical basis on the French concepts of Discourse Analysis, through the categories developed by Michel Foucault in many studies conducted throughout his investigative journey of the human sciences, such as: power-knowledge, truth-power, resistance and strategy. These sets of concepts allowed us to understand how the issue of virtuosity in music constituted a subject of discourse in Mário de Andrade s speeches and writings about music, materialized in his "Complete Works". This research made it possible to observe that Mario de Andrade s discursivity about virtuosity in music had a relationship with his militancy in Brazilian nationalist and modernist movements. At the same time, his discourse turned to be one of the elements of resistance to the European music practice prevailing in Brazilian scenery as well as a struggle strategy to build up a musical culture of genuinely Brazilian national character. / Dentre os mais diversos discursos sobre as práticas de música na civilização ocidental, o que se construiu em torno do fenômeno do virtuosismo mostrou-se significativamente presente em vários momentos da história dessa arte. Os discursos que vão ao encontro e, em contrapartida, os discursos que vão de encontro à presença do virtuosismo na música nos mostram que esta presença, além de real, tem o poder de moldar a sociedade na qual se inserem. A pesquisa que empreendemos teve como base teórico-analítica a Análise de Discurso de Linha Francesa, através das categorias desenvolvidas por Michel Foucault nos diversos estudos que realizou ao longo de sua trajetória investigativa das ciências humanas, tais como saber-poder, verdade-poder, resistência e estratégia. Este conjunto de conceitos nos permitiu compreender como a questão do virtuosismo na música se constituiu num objeto de discurso nos ditos e escritos sobre música de Mário de Andrade, materializados no conjunto de suas Obras Completas . A pesquisa nos possibilitou observar que a discursividade marioandradina sobre o virtuosismo na música possuía uma relação com sua militância nos movimentos nacionalista e modernista brasileiros e que, ao mesmo tempo, essa discursividade se constituiu num dos elementos de resistência à prática de música europeia vigente no cenário brasileiro e numa estratégia de luta na construção de uma cultura musical de caráter nacional genuinamente brasileiro.