{"id":597,"date":"2019-11-18T10:47:18","date_gmt":"2019-11-18T13:47:18","guid":{"rendered":"https:\/\/wp.ufpel.edu.br\/criticamusical\/?page_id=597"},"modified":"2019-11-18T10:48:31","modified_gmt":"2019-11-18T13:48:31","slug":"amanda-oliveira-critica-a-critica-estrategias-discursivas-de-oscar-guanabarino-sobre-mulheres-instrumentistas-no-paiz-1884-1917","status":"publish","type":"page","link":"https:\/\/wp.ufpel.edu.br\/criticamusical\/simposios\/iii-simposio-internacional-musica-e-critica\/palestras\/amanda-oliveira-critica-a-critica-estrategias-discursivas-de-oscar-guanabarino-sobre-mulheres-instrumentistas-no-paiz-1884-1917\/","title":{"rendered":"Amanda Oliveira &#8211; Cr\u00edtica \u00e0 cr\u00edtica: estrat\u00e9gias discursivas de Oscar Guanabarino sobre mulheres instrumentistas n&#8217;O Paiz (1884-1917)"},"content":{"rendered":"<div style=\"width: 640px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-597-1\" width=\"640\" height=\"360\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/11\/Palestra-2-Amanda-Oliveira-III-Simposio-Internacional-Musica-e-Critica.mp4?_=1\" \/><a href=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/11\/Palestra-2-Amanda-Oliveira-III-Simposio-Internacional-Musica-e-Critica.mp4\">https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2019\/11\/Palestra-2-Amanda-Oliveira-III-Simposio-Internacional-Musica-e-Critica.mp4<\/a><\/video><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":893,"featured_media":0,"parent":590,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-597","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\/597","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=597"}],"version-history":[{"count":1,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/597\/revisions"}],"predecessor-version":[{"id":599,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/597\/revisions\/599"}],"up":[{"embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/590"}],"wp:attachment":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/media?parent=597"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}