{"id":270,"date":"2019-01-24T15:40:51","date_gmt":"2019-01-24T17:40:51","guid":{"rendered":"https:\/\/wp.ufpel.edu.br\/criticamusical\/?page_id=270"},"modified":"2022-12-05T18:56:29","modified_gmt":"2022-12-05T21:56:29","slug":"ii-simposio-internacional-musica-e-critica","status":"publish","type":"page","link":"https:\/\/wp.ufpel.edu.br\/criticamusical\/anais\/ii-simposio-internacional-musica-e-critica\/","title":{"rendered":"II Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica"},"content":{"rendered":"<p><strong>Anais do\u00a0II Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica<br \/>\n<\/strong>volume 2, 2018<br \/>\nISSN: 2596-0628<\/p>\n<p><strong>Completo<\/strong>:\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/Anais-II-SIMC.pdf\">Anais II SIMC<\/a><\/p>\n<p><strong>Artigos:<br \/>\n<\/strong>Cartas de Buenos Aires: la recepci\u00f3n de la m\u00fasica acad\u00e9mica de y en Argentina a trav\u00e9s de\u00a0la prensa musical europea (1920-1930) \u2013\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/Vera-Wolkowicz.pdf\">Vera Wolkowicz<\/a><\/p>\n<p>Ernani Braga e Vicente Fittipaldi: m\u00fasica e cr\u00edtica no 1\u00ba Congresso Afro-brasileiro \u2013\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/Andrea-Albuquerque-Adour-da-Camara-S\u00e9rgio-Anderson-de-Moura-Miranda.pdf\">Andrea Albuquerque Adour da Camara, S\u00e9rgio Anderson de Moura Miranda<\/a><\/p>\n<p>A prepara\u00e7\u00e3o da temporada de \u00f3pera de 1900 no Rio de Janeiro: cr\u00edtica musical, civiliza\u00e7\u00e3o\u00a0e modernidade num mundo musical em transforma\u00e7\u00e3o \u2013\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/M\u00f3nica-Vermes.pdf\">M\u00f3nica Vermes<\/a><\/p>\n<p>Salom\u00e9: la frontera entre el marco y el exceso \u2013\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/Silvia-Glocer.pdf\">Silvia Glocer<\/a><\/p>\n<p>Os pianistas do <em>Fonds Monpensier<\/em>, <em>Bo\u00eete Br\u00e9sil<\/em>, na <em>Biblioth\u00e8que nationale de France<\/em>:\u00a0imprensa musical, sociedade e rela\u00e7\u00f5es internacionais \u2013\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/Z\u00e9lia-Chueke.pdf\">Z\u00e9lia Chueke<\/a><\/p>\n<p><strong>Comunica\u00e7\u00f5es:<\/strong><br \/>\nAs cr\u00edticas de Aldo Obino no Jornal Correio do Povo nos anos 1940: relatos sobre as\u00a0temporadas l\u00edricas do Orphe\u00e3o Rio-Grandense \u2013\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/K\u00eania-Simone-Werner.pdf\">K\u00eania Simone Werner<\/a><\/p>\n<p>A <em>F\u00e1brica de Pianos Essenfelder<\/em> na imprensa musical do in\u00edcio do s\u00e9culo XX: cr\u00edtica e\u00a0propaganda \u2013\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/Nathalia-Lange-Hartwig.pdf\">Nathalia Lange Hartwig<\/a><\/p>\n<p>Radam\u00e9s Gnattali e a embaixada sonora de Villa-Lobos: entre a cr\u00edtica musical e a pol\u00edtica\u00a0cultural internacional brasileira &#8211;\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/Rafael-Henrique-Soares-Velloso.pdf\">Rafael Henrique Soares Velloso<\/a><\/p>\n<p><em>Madrugada<\/em>: modernismo, tradi\u00e7\u00e3o e cr\u00edtica musical \u2013\u00a0<a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/02\/Gustavo-Frosi-Benetti.pdf\">Gustavo Frosi Benetti<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Anais do\u00a0II Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica volume 2, 2018 ISSN: 2596-0628 Completo:\u00a0Anais II SIMC Artigos: Cartas de Buenos Aires: la recepci\u00f3n de la m\u00fasica acad\u00e9mica de y en Argentina a trav\u00e9s de\u00a0la prensa musical europea (1920-1930) \u2013\u00a0Vera Wolkowicz Ernani Braga e Vicente Fittipaldi: m\u00fasica e cr\u00edtica no 1\u00ba Congresso Afro-brasileiro \u2013\u00a0Andrea Albuquerque Adour da [&hellip;]<\/p>\n","protected":false},"author":893,"featured_media":0,"parent":154,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-270","page","type-page","status-publish","hentry"],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/270","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/users\/893"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/comments?post=270"}],"version-history":[{"count":11,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/270\/revisions"}],"predecessor-version":[{"id":1216,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/270\/revisions\/1216"}],"up":[{"embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/154"}],"wp:attachment":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/media?parent=270"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}