THE FEMININE AND THE CATHOLIC MUSIC: BETWEEN PRACTICES AND REPRESENTATIONS

dc.contributorUniversidade Estadual Paulista (Unesp)
dc.contributorUniversidade Federal do Pará (UFPA)
dc.date.accessioned2018-11-26T17:54:20Z
dc.date.available2018-11-26T17:54:20Z
dc.date.created2018-11-26T17:54:20Z
dc.date.issued2018-01-01
dc.identifierHistoria E Cultura. Franca: Univ Estadual Paulista Julio Mesquita Filho, Fac Ciencias Humanas & Sociais, v. 7, n. 1, p. 50-74, 2018.
dc.identifier2238-6270
dc.identifierhttp://hdl.handle.net/11449/164386
dc.identifier10.18223/hiscult.v7i1.2282
dc.identifierWOS:000437485400005
dc.description.abstractEffeminate and feminine were recurrent expressions in documents and theological writings that sought to discipline musical practices in the Roman Catholic Church, characterizing the degeneration of the character through music. This paper seeks to understand the fundamental of this representation, as well as the female presence or absence in Brazilian musical practices. Data obtained in bibliographical and documentary research were analyzed from the references of memory and identity in Joel Candau, as well as of practices and representations, by Roger Chartier. The results point to attempts to silence the feminine in religious music literally and symbolically. However, the presence of women in Brazilian musical practices was recurrent, according to musical documents collected from various collections.
dc.languagepor
dc.publisherUniv Estadual Paulista Julio Mesquita Filho, Fac Ciencias Humanas & Sociais
dc.relationHistoria E Cultura
dc.rightsAcesso restrito
dc.sourceWeb of Science
dc.subjectReligious Music
dc.subjectRoman Catholic Church
dc.subjectMusic and gender
dc.subjectPatristic
dc.subjectTheatrical music
dc.subjectEffeminate music
dc.titleTHE FEMININE AND THE CATHOLIC MUSIC: BETWEEN PRACTICES AND REPRESENTATIONS
dc.typeArtículos de revistas


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