This work investigates the presence of the musical genre schottisch in Brazil and Belém
during the late 19th century and early 20th century, throughout the figure of Clemente Ferreira
Júnior, composer, maestro and pianist. In this investigation, some methodological tools
concerning ethnomusicological studies are utilized, as well as analytical tools from music
theory and musical composition. The research problem presents itself from the following
propositions: How does Clemente Ferreira’s musical creation processes occur? Which are the
musical elements of Clemente’s schottisch? How does this musical creation relates to the
composer’s socio-economic background? It is aimed the comprehension about the composer’s
musical practice, based in Sônia Chada’s (2007) “musical practice” precept, focusing on his
social context as the main parameter. The work also offers an overview about the
transformation ocurred in Brazilian music since the second half of the 19th century, proposing
the adoption of the term “novidades musicaes” (musical novelties) to designate this
phenomena of ongoing import of foreign musical genres to the country during the period. At
last, it is presented a musical composition, accompanied by a memorial detailing this auctor’s
aesthetical views on the work, showing a concept called “Transmutation”, in which some of
Clemente Ferreira Schottische’s caractheristics are used for creating original musical.
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