{"id":792,"date":"2020-11-24T18:12:38","date_gmt":"2020-11-24T21:12:38","guid":{"rendered":"https:\/\/wp.ufpel.edu.br\/criticamusical\/?page_id=792"},"modified":"2020-11-24T18:14:46","modified_gmt":"2020-11-24T21:14:46","slug":"videos","status":"publish","type":"page","link":"https:\/\/wp.ufpel.edu.br\/criticamusical\/simposios\/iv-simposio-internacional-musica-e-critica\/videos\/","title":{"rendered":"V\u00eddeos"},"content":{"rendered":"<p><img class=\" wp-image-700 alignleft\" src=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2020\/11\/IV-Simposio-Internacional-Musica-e-Critica-DIVULGACAO-283x400.png\" alt=\"\" width=\"502\" height=\"709\" srcset=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2020\/11\/IV-Simposio-Internacional-Musica-e-Critica-DIVULGACAO-283x400.png 283w, https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2020\/11\/IV-Simposio-Internacional-Musica-e-Critica-DIVULGACAO-724x1024.png 724w, https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2020\/11\/IV-Simposio-Internacional-Musica-e-Critica-DIVULGACAO-768x1086.png 768w, https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2020\/11\/IV-Simposio-Internacional-Musica-e-Critica-DIVULGACAO-1086x1536.png 1086w, https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2020\/11\/IV-Simposio-Internacional-Musica-e-Critica-DIVULGACAO.png 1414w\" sizes=\"(max-width: 502px) 100vw, 502px\" \/><\/p>\n<p>23\/11\/20 MANH\u00c3 &#8211; https:\/\/youtu.be\/itAXDyWDkGk<br \/>\n<strong>Palestra<\/strong> &#8220;Cr\u00edtica gen\u00e9tica, agendas, cr\u00edticas&#8221;, Dr. Celso Loureiro Chaves.<\/p>\n<p>23\/11\/20 TARDE &#8211; https:\/\/youtu.be\/BBGvZDXD-BQ<br \/>\n<strong>Palestra<\/strong> &#8220;Perspetivas sobre Saint-Sa\u00ebns no Brasil &#8211; suas cartas e a imprensa&#8221;, Dr. David Cranmer;<br \/>\n<strong>Comunica\u00e7\u00f5es<\/strong>:<br \/>\n&#8211; Jo\u00e3o Pedro Costa: \u201c[N]\u00e3o me parecem compositores para uma sociedade como a nossa, meia surda, meia distra\u00edda\u201d: Lu\u00eds da Costa e o jornalismo musical em \u00c9vora (1887-1902);<br \/>\n&#8211; Isabel Pina: \u201cFilhos de um pa\u00eds pequeno\u201d: a percep\u00e7\u00e3o de si e do outro na cr\u00edtica musical portuguesa do s\u00e9culo XX;<br \/>\n&#8211; Isaac W. Kerr, Lenita W. M. Nogueira, Marcos C. L. Virmond: Algumas considera\u00e7\u00f5es sobre o conceito de melodia italiana nos peri\u00f3dicos do secondo ottocento;<br \/>\n&#8211; Danieli Ver\u00f4nica Longo Benedetti: Uma an\u00e1lise da cr\u00edtica especializada em torno das temporadas de concertos da Soci\u00e9t\u00e9 Musicale Ind\u00e9pendente \u2013 SMI (1910-1935).<\/p>\n<p>24\/11\/20 TARDE &#8211; https:\/\/youtu.be\/NfVs7eTriA8<br \/>\n<strong>Comunica\u00e7\u00f5es<\/strong>:<br \/>\n-Ass\u00edria Toledo do Amaral &#8211; \u201cO Z da quest\u00e3o\u201d: O memorialismo e a cr\u00edtica musical em Zuza Homem de Mello (1933- );<br \/>\n-Fl\u00e1vio Carvalho: A contribui\u00e7\u00e3o dos peri\u00f3dicos na pesquisa biogr\u00e1fica sobre Dinor\u00e1 de Carvalho;<br \/>\n&#8211; Elber Ramos Bonfim: M\u00fasica, Pol\u00edtica e Tr\u00e1fico Negreiro \u2013 Tens\u00f5es e Representatividades no Imperial Teatro de S\u00e3o Pedro de Alc\u00e2ntara;<br \/>\n&#8211; Carlos Alberto Figueiredo: O epis\u00f3dio \u201cFagulhas\u201d e o Orpheon Carlos Gomes: contradi\u00e7\u00f5es num debate na imprensa fluminense em 1898;<br \/>\n&#8211; K\u00eania Simone Werner: As contribui\u00e7\u00f5es da Revista Bastidores para a pesquisa musicol\u00f3gica.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>23\/11\/20 MANH\u00c3 &#8211; https:\/\/youtu.be\/itAXDyWDkGk Palestra &#8220;Cr\u00edtica gen\u00e9tica, agendas, cr\u00edticas&#8221;, Dr. Celso Loureiro Chaves. 23\/11\/20 TARDE &#8211; https:\/\/youtu.be\/BBGvZDXD-BQ Palestra &#8220;Perspetivas sobre Saint-Sa\u00ebns no Brasil &#8211; suas cartas e a imprensa&#8221;, Dr. David Cranmer; Comunica\u00e7\u00f5es: &#8211; Jo\u00e3o Pedro Costa: \u201c[N]\u00e3o me parecem compositores para uma sociedade como a nossa, meia surda, meia distra\u00edda\u201d: Lu\u00eds da Costa e [&hellip;]<\/p>\n","protected":false},"author":893,"featured_media":0,"parent":707,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-792","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\/792","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=792"}],"version-history":[{"count":2,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/792\/revisions"}],"predecessor-version":[{"id":795,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/792\/revisions\/795"}],"up":[{"embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/pages\/707"}],"wp:attachment":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/media?parent=792"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}