149f. / Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2013-10-17T12:14:55Z No. of bitstreams: 1 O Mistério do Planeta - Dissertação de Humberto Santos Pereira.pdf: 2532524 bytes, checksum: 0be8dc2b9eb450aefc6d167a8c1ea9d1 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2013-10-30T17:52:39Z (GMT) No. of bitstreams: 1 O Mistério do Planeta - Dissertação de Humberto Santos Pereira.pdf: 2532524 bytes, checksum: 0be8dc2b9eb450aefc6d167a8c1ea9d1 (MD5) / Made available in DSpace on 2013-10-30T17:52:39Z (GMT). No. of bitstreams: 1 O Mistério do Planeta - Dissertação de Humberto Santos Pereira.pdf: 2532524 bytes, checksum: 0be8dc2b9eb450aefc6d167a8c1ea9d1 (MD5) / Estuda-se a atuação dos Novos Baianos no período compreendido entre 1969 e 1979. Trata-se de um grupo musical formado por artistas como Moraes Moreira, Pepeu Gomes, Baby Consuelo e Paulinho Boca de Cantor. A investigação está voltada para o período que vai da formação do grupo até a sua fragmentação. Em termos de metodologia, buscou-se compreender a trajetória dos mesmos a partir do conceito de campo artístico formulado por Bourdieu. Para tanto, são consideradas diversas fontes, como os jornais soteropolitanos do período coberto pela pesquisa e a obra dos Novos Baianos. Dessa forma, foi construída uma interpretação da atuação do grupo no campo artístico voltada para a compreensão dos mecanismos pelos quais o mesmo buscou construir sua legitimação ao longo de sua carreira. Os resultados da Pesquisa apontam que os Novos Baianos detinham, entre 1969 e 1971, uma estratégia de legitimação marcada pelo emblema da novidade, o que os colocava como vanguarda artística voltada para o público jovem; por outro lado, a partir de 1972, tal postura ganha o complemento da inovação, qual seja, transforma em novo algo já consolidado no passado. Assim, a estratégia do grupo se configura no sentido de que os Novos Baianos passam a se apresentar enquanto novos e inovadores, modernos e modernizantes. Isto oportunizou aos Novos Baianos uma constante mudança em seus trabalhos e a busca por novas arenas de disputa de legitimidade, viabilizando uma ampliação progressiva de seu público ao longo de sua trajetória. This research aims to develop a study of the performance of the Novos Baianos between 1969 and 1979. The Novos Baianos are a musical group formed by Moraes Moreira, Pepeu Gomes, Baby Consuelo, and Paulinho Boca de Cantor. This study investigates the period between their formation as a group and their subsequent fragmentation. In methodological terms, we try to understand the group‟s trajectory in this period in terms of Bourdieu‟s concept of cultural and artistic fields. To this end, we utilize multiple sources, including local media coverage during the period and the work of the group itself. In this way we construct an interpretation based on the performance of the group in the artistic field, understanding the mechanisms through which the group attempted to construct artistic legitimacy throughout their career. Results of the study indicate that the Novos Baianos used, between 1969 and 1971, a strategy of legitimation marked by the idea of novelty in which they were considered part of the artistic vanguard by their young audience. After 1972 this approach transformed to compliment their earlier innovation, or, in other words, they transformed and remade into new things from the past. This strategy of the Novos Baianos thus presented the group as young and modern, innovators and forces of modernization. This made it possible for the group to be constantly in motion in their work, in search of new arenas to construct their legitimacy, thereby progressively increasing their fan base throughout their career. / Salvador

The focus of this study is on the relationships among three basic auditory representations as well as their interaction with a measure of overall musicianship (sight-singing) among a group of classical and non-classical university music students (N = 112) selected from three different universities. Students were enrolled in level one of an aural skills course at the time. Basic auditory representations included were tonic centrality, measured by Colwell’s (1968) Feeling for Tonal Center, tonal grouping, measured by Colwell’s (1968) Auditory-Visual Discrimination, and harmonic function grouping, measured by a revised version of Holahan, Saunders and Goldberg’s (2000) assessment. I evaluated relationships by correlating scores on each measure and also compared these relationships among classical and non-classical music students. The participants in this study were the most skilled at forming auditory representations of tonic centrality and non-classical musicians significantly (p = .002) outperformed classical musicians in this area. Tonic centrality was also most strongly correlated with overall musicianship (τ = .45, p < .001) within the sample, and this relationship appeared to be stronger among non-classical musicians (τ = .52, p < .001) than among classical musicians (τ = .39, p < .001). This difference may be accounted for by the increased reliance on grounding in a tonal center required by the musical activities of a typical non-classical music student. Given the changing balance of musical endeavors present in tertiary music schools today (Lehmann, Sloboda, & Woody, 2007), educators are encouraged to better understand the particular strengths non-classical musicians may bring to the classroom in terms of ear-based musical abilities. Likewise, music educators on each level are encouraged to incorporate ear-based activities such as improvisation and playing by ear to the benefit of musicians of all genres.

Since YouTube was founded in 2005, prosumers have been uploading karaoke-style “lyric videos” of their favourite songs in order to creatively and visually accompany the song, while making it available online to other listeners. In the last few years, more and more artists have adopted this trend and are releasing official lyric videos that follow and expand on this tradition, thus commanding immediate visual attention to new singles. Additionally, these videos control the images and sounds associated with the song and artist, while profiting from advertising revenue tied to online video content. Though scholarship on music video is increasing, there is no evidence of scholarly research on lyric videos. Seemingly simple, these videos create meanings that impact artistic personae, song and album reception, and genre identity formation. They are not merely promotional devices, or placeholders for “official” music videos. Grounding my analysis in genre theory (Frow 2015, Brackett 2015 & 2016, Fabbri, 1982, Holt, 2007), I claim that lyric videos comprise a new visual genre of music video, following their own parameters, connections, and histories, while simultaneously participating in the ideologies and tropes of their musical genre. In order to illustrate the framework, I offer a history of the genre by focusing my analysis on the lyric videos released by Katy Perry over the course of seven years, from 2010 to 2017, from the promotion for four of her most recent albums. By offering a historical analysis, I show how the lyric video has emerged, evolved and become established as a distinct visual genre. I include brief interludes in my analysis to highlight other important moments in the development of the genre, and to discuss how the lyrics, sound, and images are diversely represented in lyric videos depending upon musical genre. Drawing from feminist theory (Gledhill 2000), as well as persona theory (Auslander 2004, Moore 2005), I conclude that lyric videos offer unique possibilities for artists to amplify the meaning of their song and the spectator’s understanding of the lyrics, while portraying information about the artist’s subjectivities, and as such, deserves more scholarly attention as a distinct visual genre.

Submitted by Fernando De Souza Miranda (fernandopiap@gmail.com) on 2018-10-11T22:02:40Z No. of bitstreams: 1 diss (6) COMPLETA.pdf: 5463686 bytes, checksum: d8b42336a8e6fe96350ef0a216d7bf15 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-10-11T23:52:18Z (GMT) No. of bitstreams: 1 miranda_fs_me_ia.pdf: 5463686 bytes, checksum: d8b42336a8e6fe96350ef0a216d7bf15 (MD5) / Made available in DSpace on 2018-10-11T23:52:18Z (GMT). No. of bitstreams: 1 miranda_fs_me_ia.pdf: 5463686 bytes, checksum: d8b42336a8e6fe96350ef0a216d7bf15 (MD5) Previous issue date: 2018-07-06 / O presente trabalho aponta algumas das principais técnicas idiomáticas do berimbau brasileiro, e demonstra como estes elementos foram usados na elaboração de três composições para conjunto de berimbaus. A pesquisa foi instigada pela vivência prática com este instrumento em diferentes contextos musicais, o que resultou na possibilidade de utilizar os conhecimentos técnicos aprendidos na Capoeira e em alguns trabalhos da MPB, para serem ferramentas composicionais em obras para grupos de câmara. Por decorrência deste processo foi necessário identificar e definir alguns dos recursos idiomáticos mais comuns do instrumento. Para ilustrar e melhor compreender sobre o idiomatismo do berimbau, recorremos a transcrições de gravações fonográficas de importantes instrumentistas da Capoeira e da música popular brasileira. / The present work points out some of the main idiomatic techniques of the Brazilian berimbau, and demonstrates how these elements were used in the elaboration of three compositions for the berimbaus ensemble. The research was instigated by the practical experience with this instrument in different musical contexts, which resulted in the possibility of using the technical knowledge learned in Capoeira and in some works of MPB, to be used as compositional tools in works for chamber groups. As a result of this process it was necessary to identify and define some of the most common idiomatic resources of the instrument. To illustrate and better understand the berimbau's idiomaticity, we have resorted to transcriptions of phonographic recordings of important instrumentalists from Capoeira and popular Brazilian music.

SANTOS, Nilce Helena Marques dos. O discurso do Movimento Música Popular Maranhense (MPM) da década de 70. 2015. 182f. – Tese (Doutorado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2015. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-11-07T11:31:20Z No. of bitstreams: 1 2015_tese_nhmsantos.pdf: 1851035 bytes, checksum: da58ba81db473f6c65c1a0b9a0e44eef (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-11-07T11:40:43Z (GMT) No. of bitstreams: 1 2015_tese_nhmsantos.pdf: 1851035 bytes, checksum: da58ba81db473f6c65c1a0b9a0e44eef (MD5) / Made available in DSpace on 2016-11-07T11:40:43Z (GMT). No. of bitstreams: 1 2015_tese_nhmsantos.pdf: 1851035 bytes, checksum: da58ba81db473f6c65c1a0b9a0e44eef (MD5) Previous issue date: 2015 / The maranhense musical history is strongly marked by the influence of the indian, african and Portuguese cultures. Its compositions portray the influences of the rithmical and richness historical of the popular culture of the traditional music. This paper intends to analyse songs produced in Maranhão in the decade of 1970, while discoursive practice, having as basis the orientation given by Dominique Manigueneau for the Analysis of the French discourse. It is presented some categories as a discoursive practice, position, generical, linguistic, cenographical and ethic investments, also intertextual and interdiscoursive relations focused by Manigueneau. It is based yet upon the studies done by Costa (2001) about the literomusical Brazilian discourse and upon the orientations by Stuart Hill (2002) for the concepts of identify and culture. There after it was revisited the context of maranhense popular music and the incorporation of elements of the popular culture in the music produce by maranhense composers in the decade of 1970. It was sought, through linguistic-discoursive aspects, to analyse the maranhense popular music in the decade of 1970, while a position in the framework of the Brazilian Popular Music. The obtained results point out: the letters particularly present a hy brid language code, alternating between the well educated language and the popular one; the ethos represents an individual who exalts his land, his people and, even being far away from his origins, he hasn‘t forgotten their traditions and their culture. The enunciator resorts it and makes use of different discoursive frields like the religious, historical, discourse, in order to legitimate his own discourse; the analysed cenofraphis from the three alberns, which represent the MPM, reveal the cultural and social traces of the maranhense people, his history, his eagernesse and daily problems so contributing in that way to form, within the gender song, a position (identify) from the linguistic and social processes which reflect the culture of the maranhense people. / A história da música maranhense é fortemente marcada pela influência das culturas indígena, africana e portuguesa. Suas composições retratam as influências da riqueza rítmica e histórica da cultura popular da música tradicional. Este trabalho pretende analisar canções produzidas no Maranhão na década de 1970, enquanto prática discursiva, tendo como base a orientação dada por Dominique Maingueneau para a Análise do discurso francesa. Apresentamos algumas categorias como prática discursiva, posicionamento, investimentos genérico, linguístico, cenográfico e ético, relações intertextuais e interdiscursivas enfocadas por Maingueneau. Embasamo-nos ainda nos estudos feitos por Costa (2001) sobre o discurso literomusical brasileiro e nas orientações de Stuart Hall (2002) para os conceitos de identidade e cultura. Em seguida, revisitamos o contexto da música popular maranhense e a incorporação de elementos da cultura popular na música produzida por compositores maranhenses na década de 1970. Buscamos, através de aspectos linguístico-discursivos, analisar a música popular maranhense na década de 1970, enquanto posicionamento no âmbito da Música Popular Brasileira. Os resultados obtidos indicam: As letras particularmente apresentam um código de linguagem híbrido, alternando entre a linguagem culta e a popular; o ethos representa um indivíduo que exalta a sua terra, sua gente e que mesmo estando distante de suas origens, não tem esquecido suas tradições e sua cultura. O enunciador recorre e faz uso de diferentes campos discursivos como o discurso religioso, histórico, para legitimar o seu próprio discurso; as cenografias analisadas, nos três álbuns representativos da MPM, revelam os traços culturais e sociais do povo maranhense, sua história, seus anseios e seus problemas do cotidiano, contribuindo dessa maneira para formar, dentro do gênero canção, um posicionamento (identidade) a partir de processos linguísticos e sociais que reflete a cultura do povo maranhense.

The study interrogates the context reflectivity of postcolonial Shona popular music in Zimbabwe. It also explores the extent to which the legal environment in which the same music is produced, disseminated and consumed affects expressivity and artistic precision. The study is inspired by the New Historicism theory which assumes that every work of art is a product of the historical moment that created it and can be identified with the cultural and political movements of the time. The same is believed of popular music. The study is also beholden to the Marxist literary tradition for its assessment of the discourse of politics and socio-economic issues in popular music. For all the analysis, an Afrocentric eye view informs the thesis. Being qualitative in perspective, the research mainly uses the hermeneutic research design as an operational framework for the interpretation of lyrical data. Hermeneutics, as a method of textual analysis, emphasizes the socio-cultural and historic influences on qualitative interpretation. Postcolonial Shona popular music is purposively sampled and critically studied using the hermeneutic method to tease out latent social and political nuances in lyrical data. Interviews are roped in as alternative opinions to validate hermeneutic data. The research observes that the legislative environment in which Zimbabwean popular music is composed is, on paper, very conducive for the art but in practice severely restrictive. The constitution allows the artiste sufficient space to sing any subject but confessions by some critics alert on the incidences of some censored products. Even against that backdrop artistes have gone on to compose politically suggestive music. However, from the first decade of independence, the tendency for the artiste has been to flow with the meta-narrative or hegemonic discourses of the state, while in the later decades the artiste sounds critical of the nationalist government. Realising the power of music to articulate serious national issues; among other prescriptions, the study recommends that government creates a flexible and democratic legislation that allows for unbounded creativity and consumption of artistic products. / African Languages / D. Litt. et Phil. (African Languages)

Un discours assez répandu parmi les acteurs du monde de la musique tend àbalayer la question des langues chantées en la résumant à un simple choix stratégique desartistes dans un contexte de globalisation. Si la pratique musicale est certes liée à desquestions de reconnaissance et de rémunération, nous souhaitons approfondir l’étude durapport du musicien et de l’auditeur à la langue chantée. Plus précisément, nous nousintéressons à la manière dont prennent place différentes langues chantées dans l’espace socialfrançais. Pour ce faire, nous envisageons les langues comme des activités plutôt que commedes objets, c’est-à-dire comme des pratiques mimétiques sans cesse relocalisées. Celles-cis’insèrent logiquement dans les processus de circulation et d’appropriation d’oeuvresmusicales transnationales, mais renvoient aussi à des modes d’identification propres, quidépassent le seul domaine linguistique. En ce sens, la pratique d’une langue est souvent liée,de manière plus ou moins conflictuelle, à une appartenance plus large, comme la nation parexemple. C’est le cas, en France, où nous étudions, dans un premier temps, la manière depromouvoir la langue chantée par les pouvoirs publics. Après une approche sociohistoriquedes grands courants musicaux ayant renouvelé la situation des langues en France, nousproposons trois terrains d’enquête permettant d’observer, de manière circonstanciée, lespratiques et les représentations du français, de l’anglais et de l’occitan. / Language practices in popular music are generally understood to be a strategicchoice related to globalizing forces. If musical activities do indeed depend on questions ofrecognition and remuneration, we can therefore propose a more complex approach tomusicians’ and listeners’ attitudes towards language, and to consider how different languagescoexist within the French context of popular music. To do so, we must consider languages asmimetic practices that are constantly relocated, rather than fixed entities. Integrated inmusical works, they follow processes of transnational circulation and appropriation, but alsorelate to original forms of identification, that go beyond the sole linguistic field. As such, thepractice of a language is often linked, in more or less conflicting ways, to broader senses ofbelonging, such as the nation. This is specifically the case in France, where we locate ourinvestigation. We firstly study how, historically, the French State has promoted its nationalidiom within the field of music. We then propose a socio-historical review of the mainmusical trends that have renewed the configuration of languages in France over the past fiftyyears. We finally analyze three case studies that enable us to observe, within popular music,the specific practices and representations of French, English and Occitan.

Este estudo etnomusicológico tem por objetivo examinar a constituição de uma música popular do sul do Brasil a partir da trajetória dos Tápes, grupo criado em uma cidade do interior do Rio Grande do Sul, e atuante no período entre o começo da década de 1970 e o final da década de 1980. Pretendo problematizar esse passado musical e suas reverberações em atuais músicos do Estado. Focalizando nas narrativas musicais e nos discursos sobre música, busco evidenciar a agência dos atores sociais e os significados atribuídos a esse fazer sonoro local como um espaço de negociações, e cuja noção de politização opera como um signo expressivo, delineado desde uma cultura de esquerda. Através das inserções em campo, das interlocuções com músicos do passado e do presente, do contato com acervos e gravações, pretendo discutir memória e política como duas dimensões emergentes nesses diálogos. Do Canto da Gente, projeto de disco e espetáculo dos Tápes, aos atuais cantos politizados, apontados por perspectivas insider, transversalizo passado/presente, e sugiro memória e política enquanto nexos, como proposto pelo etnomusicólogo Kwabena Nketia, indicados por esse fazer sonoro musical. A noção de música popular do sul remete ao projeto da Marcus Pereira Discos, na década de 1970, no Brasil, condicionante para o desdobramento da trajetória dos Tápes e demais continuadores de um modo de performatizar a música popular. / This ethnomusicological study aims to examine the constitution of a popular music in southern Brazil from the trajectory of Os Tápes, a group created in a country town of Rio Grande do Sul, and active in the period between the early 1970s and end of the 1980s. My research proposal is to problematize this musical past and its reverberations in current musicians from the state of Rio Grande do Sul. Focusing on the musical narratives and discourses about music, I seek to highlight the agency of social actors and the meanings attributed to this local musical practice as a space for negotiations, and whose notion of politicization operates as an expressive sign, outlined from a leftwing culture. Through field researches, dialogues with musicians from the past and present, and the contact with collections and recordings, I intend to discuss memory and politics as two emerging dimensions in these dialogues. From Canto da Gente, a disc project and a concert of Os Tápes, to the current politicized chants, pointed for an insider’s perspectives, I mainstream past/present, and suggest memory and politics while nexuses, as proposed by the ethnomusicologist Kwabena Nketia, indicated by this sound and musical practicing. The notion of popular southern music refers to Marcus Pereira Discos project in the 1970s, in Brazil, a conditioning factor for the unfolding of Os Tápes’ trajectory and other heirs of a way to performatize the popular music.

Esta pesquisa trata da formação de músicos no Bacharelado em Música Popular da Universidade Federal do Rio Grande do Sul (UFRGS). O objetivo geral é compreender a dinâmica do encontro de um grupo de alunos com o oferecimento da primeira turma da ênfase em Música Popular, respondendo às questões: como o Bacharelado em Música Popular foi pensado e estruturado; como a disciplina Prática Musical Coletiva está organizada; como ocorrem as relações/interações entre alunos e professores no fazer musical coletivo dentro da Universidade; que relações os alunos já atuantes como profissionais de música estabelecem com a Universidade; como os alunos ingressos avaliam o fazer musical coletivo e que especificidades são reveladas no ensinar/aprender no Bacharelado em Música Popular da UFRGS? Como marco teórico adoto os conceitos de profissionalização de músicos (TRAVASSOS, 1999), o de fazer música juntos a partir de Schutz (1964) e o de a profissão do músico trazido por Morato (2009). A metodologia adotada é o estudo de caso proposto por Gil (2009) que se caracteriza pelo estudo profundo e exaustivo de um ou de poucos objetos, de maneira a permitir o seu conhecimento amplo e detalhado. O trabalho de campo realizado durante o primeiro semestre da disciplina de Prática Musical Coletiva proporcionou acompanhar a formação de músicos populares no encontro deste novo público com a universidade. Os alunos ingressos possuem bagagens músico-profissionais diversas, interagindo e relacionando-se com seus colegas e professores em sala de aula. O estar em experiência na construção de um curso novo e o se experimentar permitem ressignificar o sentido de fazer e aprender/ensinar música. A pesquisa contribui para que tanto alunos quanto professores possam problematizar o campo da formação de músicos populares tendo por contexto os cursos superiores de música, bem como o de questionar as relações e interações proporcionadas na universidade entre alunos e alunos e entre alunos e professores a partir da experiência de alunos com larga atuação na carreira profissional de músico. Os resultados contribuem para a ampliação do olhar sobre os ingressos do Bacharelado em Música Popular e suas experiências, que não se dão somente no âmbito acadêmico, considerando as contribuições que os aportes da sociologia da música podem trazer para a educação musical. / The following research deals with the undergraduation process of Bachelors in Popular Music at Federal University of Rio Grande do Sul - Brazil. The main goal is to understand the dynamics' meeting of a student’s group with the proposals of the first grade of enrolled students in Popular Music, answering the following questions: how the Bachelor in Popular Music was considered and structured; how the discipline Musical Practices in Groups is organized; how the relationships/interactions happen among students and teachers in the process of making music in groups inside the University; what relationships students that have already worked with music makes with University; how the students evaluate the group’s music making and what specificities are revelead in the teaching/learning processes in the UFRGS’ Bachelor in Popular Music. The theoretical framework adopted was the concepts of profissionalization of musicians (TRAVASSOS, 1999), the making music together of Schutz (1964) and the profession of musicist brought by Morato (2009). The method consists in a case study proposed by Gil (2009) which is caracterized by a deep and exhaustive study of one or few objects in order to allow their broad and detailed knowledge. The field work was conducted during the first semester of the discipline of Musical Practices in Groups and provide to accomplish the meeting between the recently enrolled popular musicians and the University approaches. The students have different music-professional knowledges, interacting and making relationships with their colleagues and teachers in music classes. The experience of constructing a new undergratuate course and of experience themselves allow them to reframe the meaning of making and teaching/learning music. This research contributes to discuss, both students and teachers, the field of formation of popular musicians having for context, the undergraduate courses of music, as well as, to question relationships and interactions supported by University among students and students and among students and teachers from the experience of students with extensive work in the music career. The results contribute to the view’s expansion upon the enrollment of Bachelor in Music Popular and their experiences which surpass the academic scope, considering the contributions that Sociology of Music can bring to the Music Education.

Made available in DSpace on 2014-06-11T19:26:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-02-28Bitstream added on 2014-06-13T19:54:47Z : No. of bitstreams: 1 porto_cl_me_assis.pdf: 720886 bytes, checksum: af6e252640d29a23f9800765ef33f9a3 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação apresenta os elementos de representação de personagens femininos nos sambas de Ismael Silva, um dos compositores mais importantes da década de 1930. Em seus sambas, a malandragem, a liberdade e, sobretudo, as mulheres são temas recorrentes. As mulheres particularmente, sempre aparecem como a causa de seus problemas, ou como alguém que não é digna de confiança, além de volúvel, perdulária, infiel e “da orgia” (vida boêmia). Nesta pesquisa, pretende-se verificar, por meio das personagens femininas do compositor e das notícias publicadas nas páginas policiais do jornal Correio da Manhã, durante do período de 1930 a 1935, como as mulheres eram representadas e quais valores e práticas estão por trás dessa representação. / This dissertation investigates the elements of representation of female characters in the Ismael Silva’s sambas, one of the most important popular composers in the 1930´s. The roguery way of life, the freedom and, overall, women are often in his sambas. Particularly women, appear like the reason of his problems or like someone who is not trustful, also voluble, wasteful and disloyal, which is part of a bohemian way of life. In this research we intend to verify, through the composer’s female characters and in the notes published in the pages of police occurrences in the periodic Correio da Manhã, since 1930 until 1935, how the women were represented and what values are behind this representation.