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Master's Dissertation
DOI
10.11606/D.8.2011.tde-06062011-153355
Document
Author
Full name
Dalila Vasconcellos de Carvalho
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2010
Supervisor
Committee
Peixoto, Fernanda Arêas (President)
Almeida, Heloisa Buarque de
Pontes, Heloisa André
Title in Portuguese
Renome, vocação e gênero: duas musicistas brasileiras
Keywords in Portuguese
Convenções de gênero
Helza Camêu
Joanídia Sodré
Sociologia da cultura
Vocação
Abstract in Portuguese
O presente trabalho trata da trajetória de duas musicistas brasileiras: Helza Camêu (1903-1995), pianista, compositora e musicóloga, e Joanídia Sodré (1903-1975), pianista, regente e ex-diretora da Escola Nacional de Música (atualmente Escola de Música da Universidade Federal do Rio de Janeiro) cujas carreiras tiveram início, respectivamente, em 1923 e 1927 no cenário musical do Rio de Janeiro. A construção da trajetória destas artistas visa a uma reflexão acerca de como as convenções de gênero estão imbricadas no processo social de construção de uma vocação musical neste período. Trata-se de compreender a vocação como um fato social, isto é, como um conjunto de práticas e representações sociais constituidoras da experiência do artista. A análise da trajetória de Helza Camêu e de Joanídia Sodré constitui um modo privilegiado para compreender de que maneira, na busca pela profissão de artista, estas duas mulheres criaram novos valores e sentidos que lhes permitiram transitar entre profissões masculinas e femininas.
Title in English
Fame, vocation and gender: two barzilian musicians
Keywords in English
Gender conventions
Helza Camêu
Joanídia Sodré
Sociology of culture
Vocation
Abstract in English
The present study concerns the trajectory of two Brazilian musicians: Helza Camêu (1903-1995), pianist, composer and musicologist, and Joanídia Sodré (1903-1975), pianist, conductor and former director of the National School of Music (currently, the School of Music of the Federal University of Rio de Janeiro). Their career began in 1923 and 1927, respectively, in the music scene of Rio de Janeiro. The construction of the trajectory of the above mentioned artists aims at conducting a careful thought about how gender conventions are closely linked in the social process of the construction of a musical vocation during that period. It is about to understand vocation as a social fact, that is, as a set of practices and social representations that shapes the artists experience. The analysis of the trajectory of Helza Camêu and of Joanídia Sodré constitutes a privileged way to understand how those two female artists, in search for the artist profession, created new values and meanings that allowed them to make their way through male and female professions
 
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Publishing Date
2011-06-06
 
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