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Tome 103 2017, n° 2 Un siècle de musicologie en France Histoire intellectuelle

Tome 103 2017, n° 2 Un siècle de musicologie en France Histoire intellectuelle de la Revue de musicologie Volume 1 sous la direction d’Yves Balmer et Hervé Lacombe French musicology had a key role in the process of institutionalization of Brazil- ian musicology in the university during the 1980s as Brazilian prominent figures had untaken their studies at French institutions between the 1960s and 1970s: Régis Duprat (1930), Gerard Béhague (1937–2005), Flavio Silva (1939), and José Maria Neves (1943–2002). During those decades, France — more than Germany, Italy, Portugal, Spain or the United States — was the center where Brazilian stu- dents sought for specialized training in musicology. The Franchophile influence in Brazil has proved to be as strong in music research as it has been in so many fields. That long-lasting influence dates from the French Artistic Mission (1816),1 gaining force and spreading in many fields throughout the nineteenth- and early twentieth-century,2 and persisting in the outcomes of the cutting-edge French Mission for the foundation of the University of São Paulo (1934).3 1. See Lilia Moritz Schwarcz, O Sol do Brasil. Nicolas-Antoine Taunay e as Desventuras dos Artistas Franceses na Corte de D. João, São Paulo: Companhia das Letras, 2008. 2. Among the many French influences in Brazil during the nineteenth-century, one may mention Comte’s positivism, Gobineau’s racial theory, and Taine’ mesologism. See José Luis Petruc- celli, “Doutrinas francesas e o pensamento racial brasileiro, 1870–1930,” in Estudos Sociedade e Agricultura, 7, 1996, pp. 134–49, online: http://r1.ufrrj.br/esa/V2/ojs/index.php/esa/ article/viewFile/98/94, accessed Sept. 26, 2017. By late nineteenth- and early twentieth-cen- tury, Brazilian society also experienced its belle époque, having art nouveau highly spread in urban culture. See Jeffrey D. Needel, A Tropical Belle Epoque. Elite Culture and Society in Turn-Of-The- Century Rio de Janeiro, Cambridge: Cambridge University Press, 1987. The impact of biological and racial determinism in Brazilian music historiography has been discussed by Maria Alice Volpe, “National Identity in Brazilian Music Historiography,” in Indianismo and Landscape in the Brazilian Age of Progress. Art Music from Carlos Gomes to Villa-Lobos, 1870s-1930s, PhD diss., The University of Texas at Austin, 2001 (Ann Arbor, Michigan: UMI Research Press, 2001). 3. See Patrick Petitjean, “As missões universitárias francesas na criação da Universidade de São Paulo (1934–1940),” in Amélia I. Hamburguer, ed., A ciência nas relações Brasil-França Revue de musicologie Tome 103 (2017) • no 2 p. 697-710 The Contribution of France to Brazilian Musicology. Between Interdisciplinarity and Musicologie Tout Court Maria Alice Volpe In such a Francophile context, and marked interest for the French human sci- ences, the French Society of Musicology (SFM) and its journal Revue de Musicologie (Rdm) did not fulfill the same coalescing function to Franco-Brazilian musico- logical relations. As much as the SFM had been a central organization for the implantation of musicology in France, and its networking with the international musicological world during the 1910s and 1920s, it seems that SFM relinquished its fully international potential in the decades after the Second World War as it did not capitalize on the emerging interest for the musics of the world aroused by UNESCO’s lines of actions. At the beginning of the twentieth century, the SFM and the activity around its journal made it possible to compensate for the lack of institutionalization of the discipline. Several decades later, this institutionaliza- tion became effective, especially in the University, but the journal seems to have narrowed the range of its topics, thus, losing a great deal of its structuring func- tion at international level. Symptomatically, Latin American and Brazilian musi- cology is practically invisible in the Revue de musicologie, with the exception of some book reviews4 by Luiz Heitor Corrêa de Azevedo (1905–1992), the founding edi- tor of the Revista Brasileira de Música (1934–1942), and professor of the University of Brazil (currently the Federal University of Rio de Janeiro), who settled in Paris in the late 1940s to serve as director of the UNESCO Music Office in Paris (1947–1965). Corrêa de Azevedo was also Professor of Latin American Music History at the Institute of Higher Studies of Latin America at the University of the Sorbonne (1954–1968), and a founding member of the UNESCO International Music Council (1949), where he served until the end of his life. It was precisely the need for specific training in the musicological discipline that led Régis Duprat, after completing his degree in History at the University of São Paulo in 1961 — there he was a student of Paul Hugon (Political Economy), Robert Aubreton (Greek Literature), Florestan Fernandes (Sociology), Emilio Willems and Egon Schaden (Anthropology and Ethnology), Gilda de Mello e Souza (Aesthetics), and Sérgio Buarque de Hollanda (History of Brazil) — to decline the invitation of the latter to continue his post-graduate studies as his disciple, and instead, to go to France in the early 1960s to study musicology. With (1850-1950), São Paulo: Edusp/Fapesp, 1996; Patrick Petitjean, “Ciências, impérios, rela- ções científicas franco-brasileiras,” in A. I. Hamburguer, A ciência nas relações Brasil-França (1850-1950); Ana Beatriz Feltran Maia, “As missões francesas na criação da Universidade de São Paulo: uma análise dos relatos e seus significados nos anuários da Faculdade de Filosofia, Ciências e Letras (1934–1949),” in Anais do XXVI Simpósio Nacional de História – ANPUH, julho 2011, online: www.snh2011.anpuh.org/resources/anais/14/1312990552_ARQUIVO_tex- toanpuh2011finalrevisado.pdf, accessed Sept. 26, 2017. 4. Luiz Heitor Corrêa de Azevedo, book reviews on Robert Stevenson’s Music in the Aztec and Inca Territory (Revue de musicologie, 55/1, 1969, pp. 88–91); Lincoln Spiess and Thomas Standford’s An Introduction to some Mexican Musical Archives (Revue de musicologie, 56/2, 1970, pp. 244–45); and Gérard Béhague’s Music in Latin America (Revue de musicologie, 67/2, 1981, pp. 243–44). 698 Maria Alice Volpe Revue de musicologie a scholarship from the French government (thanks to Prof. Aubreton’s endorse- ment) during the years of 1962 and 1963, Régis Duprat studied with exponents of musicology, including Jacques Chailley (History of Music) at the Institute of Musicology of the University of Paris-Sorbonne, Marcel Beaufils (Musical Aesthetics) at the Paris Superior Conservatoire, Solange Corbin (Musicology) at the École pratique de hautes études, and also internationally renowned scholars from the “mother disciplines,” including Fernand Braudel (History), and Pierre Francastel (Art History) at the EPHE. Duprat’s PhD Dissertation Música na Matriz e Sé de São Paulo Colonial [Music in the Parish Church and See of Colonial São Paulo],5 worked under the supervision of Sérgio Buarque de Hollanda and Jacques Chailley, was a result of the first interinstitutional cooperation between Brazilian and French universities in the area of musicology. It was defended at the University of Brasília (Brazil), in 1966, before the Examination Committee compounded by Sérgio Buarque de Hollanda (University of São Paulo), Gilbert Chase (Tulane University, New Orleans), and Claudio Santoro (University of Brasília/ Head of the Department of Music), bestowing Régis Duprat with the first doctoral degree in music awarded by a Brazilian institution. The French influence on Duprat’s intellectual formation had certainly begun early with his family background, and continued during his youth years, as he recalls in his Curriculum Vitae Essay for the University of São Paulo’s Full Professorship in 1997: I have a well-kept notebook […] a 135-page booklet that I began writing on September 8, 1954, and interrupted on October 23, 1961, where I laid aesthetic (if I may say so) impressions and reflections. In the mid-1950s my readings were, of course, at least in the ideological field, especially Marxist, and I remember well the French edition of Henri Lefèbvre’s Contribution à l’esthétique (1953), and the pernicious Zdanov’s Sobre a literatura, a filosofia e a música [On Literature, Philosophy, and Music] (1950). Other readings included Edouard [sic] [Charles] Lalo, Notions d’Esthétique; Taine, Philosophie de l’art and Do ideal na arte [On the ideal in art]; Bosanquet, História de la Estética [History of the Aesthetics], in Spanish translation of 1949; Gisèle Brelet, Esthétique et création musicale (1948) and L’interprétation créatrice (1951), and above all Mikel Dufrenne, Phénoménologie de l’Experience Esthétique (1953), who had so much impact on my studious mind; also Vie des formes, by Focillon and, a few years later, Abraham Moles, Théorie de l’information et perception esthétique, pub- lished in Paris in 1959, and which introduced us all to the information theory age. I read this literature, among other works, in the 1950s, and I still have in my library the same copies, inseparable companions of my questions and aporia concerning the art world. It is a literature that goes from Marxism to phenomenology in aesthetics. The latter constituted a current that marked 5. Published as book: Régis Duprat, Música Na Sé de São Paulo Colonial, São Paulo: Paulus, 1995. 699 The Contribution of France to Brazilian Musicology tome 103 (2017) • no 2 my intellectual development at that time and, over the years, particularly in the last ten or fifteen, led me to the study of hermeneutical ontology as well as existential (not existentialist) currents. […] The content of this bibliography confirms my impression that I had access to good literature on aesthetics and art history. In the same year of its publication, I read, uploads/Litterature/ volpe-contributionfrancetobrazilianmusicology-rdm103-2-2017 1 .pdf