{"id":819,"date":"2021-11-04T10:47:28","date_gmt":"2021-11-04T13:47:28","guid":{"rendered":"https:\/\/wp.ufpel.edu.br\/criticamusical\/?p=819"},"modified":"2021-11-04T11:10:31","modified_gmt":"2021-11-04T14:10:31","slug":"o-v-simc-apresenta-seus-palestrantes","status":"publish","type":"post","link":"https:\/\/wp.ufpel.edu.br\/criticamusical\/2021\/11\/04\/o-v-simc-apresenta-seus-palestrantes\/","title":{"rendered":"O V SIMC apresenta seus palestrantes &#8211; Cristina Fernandes"},"content":{"rendered":"<p>O V Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica ter\u00e1 a participa\u00e7\u00e3o de convidados com relevante contribui\u00e7\u00e3o para a pesquisa musicol\u00f3gica. Em nosso primeiro post de apresenta\u00e7\u00e3o, temos a pesquisadora portuguesa Cristina Fernandes.<\/p>\n<p><img class=\" wp-image-821 alignleft\" src=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2021\/11\/Foto-CF-306x400.jpg\" alt=\"\" width=\"214\" height=\"280\" srcset=\"https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2021\/11\/Foto-CF-306x400.jpg 306w, https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2021\/11\/Foto-CF-784x1024.jpg 784w, https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2021\/11\/Foto-CF-768x1003.jpg 768w, https:\/\/wp.ufpel.edu.br\/criticamusical\/files\/2021\/11\/Foto-CF.jpg 871w\" sizes=\"(max-width: 214px) 100vw, 214px\" \/><\/p>\n<p><span style=\"font-weight: 400\">Cristina Fernandes \u00e9 investigadora contratada no INET-md, Universidade Nova de Lisboa. Entre 2011 e 2017 realizou um p\u00f3s-doutoramento sobre as pr\u00e1ticas musicais e o cerimonial da Capela Real e Patriarcal de Lisboa (1716-1834), com uma bolsa da FCT, e entre 2015 e 2017 coordenou a linha tem\u00e1tica do INET-md \u201cAbordagens Hist\u00f3ricas \u00e0 Performance Musical\u201d. Faz parte das equipas dos projectos <\/span><i><span style=\"font-weight: 400\">PerformArt-Promoting, Patronising and Practising the Arts in Roman Aristocratic Families (1644-1740)<\/span><\/i><span style=\"font-weight: 400\"> (CNRS, \u00c9FR-Rome, financiado pelo ERC) e <\/span><i><span style=\"font-weight: 400\">MUSIN-La m\u00fasica como interpretaci\u00f3n en Espa\u00f1a: historia y recepci\u00f3n (1730-1930)<\/span><\/i><span style=\"font-weight: 400\"> (Univ. de La Rioja) e \u00e9 co-IR do projecto <\/span><i><span style=\"font-weight: 400\">PROFMUS-Ser M\u00fasico em Portugal: a condi\u00e7\u00e3o s\u00f3cio-profissional dos m\u00fasicos em Lisboa <\/span><\/i><span style=\"font-weight: 400\">(NOVA FCSH\/FCT). \u00c9 autora de v\u00e1rios livros e artigos sobre a m\u00fasica e a cultura no s\u00e9culo XVIII, entre outros temas, e \u00e9 cr\u00edtica de m\u00fasica do jornal P\u00fablico. Recentemente, coordenou (c\/M. A. Aguilar Rancel) o volume intitulado <\/span><i><span style=\"font-weight: 400\">A imprensa como fonte para a hist\u00f3ria da interpreta\u00e7\u00e3o musical <\/span><\/i><span style=\"font-weight: 400\">(BNP, INET-md, 2021).<\/span><\/p>\n<p>Durante o V SIMC, proferir\u00e1 a palestra &#8220;A recupera\u00e7\u00e3o de \u00f3peras setecentistas portuguesas atrav\u00e9s da cr\u00edtica: aspectos hist\u00f3ricos, interpretativos e ideol\u00f3gicos&#8221;.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>O V Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica ter\u00e1 a participa\u00e7\u00e3o de convidados com relevante contribui\u00e7\u00e3o para a pesquisa musicol\u00f3gica. Em nosso primeiro post de apresenta\u00e7\u00e3o, temos a pesquisadora portuguesa Cristina Fernandes. Cristina Fernandes \u00e9 investigadora contratada no INET-md, Universidade Nova de Lisboa. Entre 2011 e 2017 realizou um p\u00f3s-doutoramento sobre as pr\u00e1ticas musicais e o [&hellip;]<\/p>\n","protected":false},"author":893,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-819","post","type-post","status-publish","format-standard","hentry","category-noticias"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/posts\/819","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/types\/post"}],"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=819"}],"version-history":[{"count":8,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/posts\/819\/revisions"}],"predecessor-version":[{"id":1009,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/posts\/819\/revisions\/1009"}],"wp:attachment":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/media?parent=819"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/categories?post=819"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/tags?post=819"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}