{"id":852,"date":"2021-11-14T23:41:19","date_gmt":"2021-11-15T02:41:19","guid":{"rendered":"https:\/\/wp.ufpel.edu.br\/criticamusical\/?p=852"},"modified":"2021-11-15T01:55:42","modified_gmt":"2021-11-15T04:55:42","slug":"v-simc-divulga-a-sua-programacao","status":"publish","type":"post","link":"https:\/\/wp.ufpel.edu.br\/criticamusical\/2021\/11\/14\/v-simc-divulga-a-sua-programacao\/","title":{"rendered":"V SIMC divulga a sua programa\u00e7\u00e3o"},"content":{"rendered":"<p>O V Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica, que ter\u00e1 in\u00edcio no pr\u00f3ximo dia 22 de novembro, tem a satisfa\u00e7\u00e3o de divulgar a sua programa\u00e7\u00e3o, que ter\u00e1 transmiss\u00e3o no canal youtube do Simp\u00f3sio.<br \/>\n(https:\/\/www.youtube.com\/channel\/UC3aODRtuYuOYUMn4uvePqeg\/featured).<\/p>\n<table style=\"width: 828px\" width=\"582\">\n<tbody>\n<tr>\n<td style=\"width: 828px;text-align: center\" colspan=\"2\" width=\"582\"><strong>V Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica<\/strong><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px;text-align: center\" colspan=\"2\"><strong>Programa\u00e7\u00e3o<\/strong><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px;text-align: center\" colspan=\"2\"><strong>22\/11 &#8211; Seg<\/strong><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\">9h<\/td>\n<td style=\"width: 733px;text-align: left\">Abertura<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" width=\"84\">9h15-10h15<\/td>\n<td style=\"width: 733px\" width=\"498\">Palestra 1 &#8211; Lutero Rodrigues &#8211; O injusto esquecimento de um personagem enigm\u00e1tico<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px\" colspan=\"2\" width=\"582\"><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" width=\"84\">Mesa 1<\/td>\n<td style=\"width: 733px\" width=\"498\">Anne Meyer &#8211; A constru\u00e7\u00e3o da imagem do artista atrav\u00e9s da cr\u00edtica jornal\u00edstica &#8211; o caso Vera Janacopulos<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" rowspan=\"2\" width=\"84\">10h30-12h<\/td>\n<td style=\"width: 733px\" width=\"498\">Carlos Fernando Secomandi; Edilson Assun\u00e7\u00e3o Rocha &#8211; Arnulpho Mattos: atua\u00e7\u00e3o e inser\u00e7\u00e3o social de um compositor capixaba a partir da an\u00e1lise de not\u00edcias da imprensa peri\u00f3dica local<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 733px\" width=\"498\">Lucyanne de Melo Afonso; Rosemara Staub de Barros &#8211; As cr\u00edticas ao elenco radiof\u00f4nico pela Coluna No DIAL do Jornal A Cr\u00edtica, Manaus-AM (1949 a 1950)<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px;text-align: center\" colspan=\"2\" width=\"582\">Almo\u00e7o<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" width=\"84\">Mesa 2<\/td>\n<td style=\"width: 733px\" width=\"498\">Alexei Alves de Queiroz; S\u00e9rgio Paulo Ribeiro de Freitas &#8211; A repress\u00e3o ao Samba em jornais cariocas do in\u00edcio do s\u00e9culo XX<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" rowspan=\"2\" width=\"84\">13h30-15h<\/td>\n<td style=\"width: 733px\" width=\"498\">Manoel Messias Alves de Oliveira &#8211; O circuito \u201cZona Sul\u201d da M\u00fasica Popular: aspectos e considera\u00e7\u00f5es sobre o trabalho l\u00edtero-musical e jornal\u00edstico de Ruy Castro<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 733px\" width=\"498\">Marcus Mota &#8211; Ainda o Maxixe: pequenos flagrante das performances musicais afro-diasp\u00f3ricas<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px\" colspan=\"2\" width=\"582\"><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\">Mesa 3<\/td>\n<td style=\"width: 733px\" width=\"498\">Erica Santana dos Passos &#8211; Educa\u00e7\u00e3o pela arte e a valoriza\u00e7\u00e3o do trabalho dos professores na cr\u00edtica de M\u00e1rio de Andrade para o Di\u00e1rio Nacional<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" rowspan=\"2\">15h15-16h45<\/td>\n<td style=\"width: 733px\" width=\"498\">Fabricia D. Mal\u00e1n Carrera &#8211; Lo dice la prensa. Las experiencias de m\u00fasica electroac\u00fastica y la escena en Uruguay, en las d\u00e9cadas de 1960 y 1970<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 733px\" width=\"498\">Jo\u00e3o Figueiredo Costa &#8211; A &#8220;m\u00fasica de alta cultura&#8221; no Di\u00e1rio de Lisboa no p\u00f3s 25 de abril (1974-1980): g\u00e9neros jornal\u00edsticos, autoriais, tem\u00e1ticas e discursos<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px\" colspan=\"2\" width=\"582\"><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px;text-align: center\" colspan=\"2\"><strong>23\/11 &#8211; Ter<\/strong><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\">9h-10h<\/td>\n<td style=\"width: 733px\">Palestra 2 &#8211; Andr\u00e9 Egg &#8211; Por uma periodiza\u00e7\u00e3o da cr\u00edtica musical no Brasil<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px\" colspan=\"2\"><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\">Mesa 4<\/td>\n<td style=\"width: 733px\" width=\"498\">Diego Wandal dos Santos &#8211; Luiz Heitor nas p\u00e1ginas da Revista Cultura Pol\u00edtica<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\">10h10-11h10<\/td>\n<td style=\"width: 733px\" width=\"498\">Renata Leticia Marques &#8211; A cr\u00edtica musical de L\u00facio Rangel ou a M\u00fasica Brasileira como tradi\u00e7\u00e3o inventada<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px\" colspan=\"2\"><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\">Mesa 5<\/td>\n<td style=\"width: 733px\" width=\"498\">Jonas Silva de Almeida; Valmiro Pereira Machado Junior; Rafaela Canez Camargo; Rebeca Klippel Brehm; Luiz Guilherme Goldberg &#8211; Oscar Guanabarino Pelo Mundo das Artes: m\u00e9todos e processos em pesquisa hemerogr\u00e1fica<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\">11h20-12h20<\/td>\n<td style=\"width: 733px\" width=\"498\">Marcele Pedrotti Dutra Meneses; Luiz Guilherme Goldberg &#8211; A cr\u00edtica de Alexandre Levy: quest\u00f5es metodol\u00f3gicas<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px\" colspan=\"2\">Almo\u00e7o<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" width=\"84\">13h30-14h30<\/td>\n<td style=\"width: 733px\" width=\"498\">Palestra 3 &#8211; Cristina Fernandes &#8211; A recupera\u00e7\u00e3o de \u00f3peras setecentistas portuguesas atrav\u00e9s da cr\u00edtica: aspectos hist\u00f3ricos, interpretativos e ideol\u00f3gicos<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px\" colspan=\"2\" width=\"582\"><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" width=\"84\">Mesa 6<\/td>\n<td style=\"width: 733px\" width=\"498\">Matteo Ciacchi &#8211; Um tropicalismo end\u00f3geno: a dez anos da Guanabara e a um s\u00e9culo de Londres hemerogr\u00e1fica<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" width=\"84\">14h40-15h40<\/td>\n<td style=\"width: 733px\" width=\"498\">Millena Rossi Melchioretto; Andr\u00e9 Acastro Egg &#8211; Folclorismo na cr\u00edtica musical de Eunice Catunda<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 828px\" colspan=\"2\" width=\"582\"><\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\" width=\"84\">16h-17h30<\/td>\n<td style=\"width: 733px\" width=\"498\">Mesa de encerramento &#8211; Christina Fuscaldo, Kamille Viola e Nayive Anan\u00edas &#8211; Os desafios para a cr\u00edtica musical feita por mulheres no Brasil.<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 95px\">17h30<\/td>\n<td style=\"width: 733px\">Encerramento<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>O V Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica, que ter\u00e1 in\u00edcio no pr\u00f3ximo dia 22 de novembro, tem a satisfa\u00e7\u00e3o de divulgar a sua programa\u00e7\u00e3o, que ter\u00e1 transmiss\u00e3o no canal youtube do Simp\u00f3sio. (https:\/\/www.youtube.com\/channel\/UC3aODRtuYuOYUMn4uvePqeg\/featured). V Simp\u00f3sio Internacional M\u00fasica e Cr\u00edtica Programa\u00e7\u00e3o 22\/11 &#8211; Seg 9h Abertura 9h15-10h15 Palestra 1 &#8211; Lutero Rodrigues &#8211; O injusto esquecimento [&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-852","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\/852","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=852"}],"version-history":[{"count":6,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/posts\/852\/revisions"}],"predecessor-version":[{"id":855,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/posts\/852\/revisions\/855"}],"wp:attachment":[{"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/media?parent=852"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/categories?post=852"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/criticamusical\/wp-json\/wp\/v2\/tags?post=852"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}