Mariana Carvalho Calado
PhD candidate in Musicology at Faculdade de Ciências Sociais e Humanas – Universidade Nova de Lisboa. She finished her master thesis in 2011 with the study of Francine Benoît’s music criticism and chronicles written between the 1920’s and 1950. Mariana is the coordinater of NEMI (Research Study on Music in the Press) and is member of SociMus (Group of Advanced Studies in Sociology of Music) and NEGEM (Group Studies in Gender and Music). She writes for the magazine Glosas. She has a PhD Studentship from FCT (Science and Technology Foundation).
«O jazz no Diário de Lisboa na década de 1920». Cuadernos de Etnomusicología. Nº10 (Otoño 2017). <http://www.sibetrans.com/etno/public/docs/15-mariana-calado-corregido.pdf>
«O discurso de Francine Benoît sobre o canto coral na revista ‘Os Nossos Filhos’». in Falar de Mulheres – dez anos depois, coordenação de Zíllia O. de Castro, Isabel de Jesus, Zita Mira e Paula G. Ribeiro, 171-184. V. N. Famalicão: Húmus, 2016.
«Discursos da imprensa na estreia portuguesa de repertório orquestral canónico na década de 1930». in Actas do III Encontro Ibero-americano de Jovens Musicólogos, Sevilha/Espanha, 2016. March 10-11, editado por Marco Brescia e Rosana Marreco Brescia, 128-138. s.l.: Tagus-Atlanticus Associação Cultural, 2016.
«O concerto de ontem: as sonatas de Beethoven interpretadas por Viana da Mota nas críticas de Ruy Coelho (Diário de Notícias) e de Luís de Freitas Branco e Francine Benoît (Diário de Lisboa)». In Actas do I Encontro Ibero-Americano de Jovens Musicólogos: Por uma musicologia criativa… Editado por Marco Brescia, 728-739. Lisboa: Tagus-Atlanticus Associação Cultural, 2012.
The present reaseach project focuses on the problematics, discourses and social dimensions of the music criticism published in Portuguese newspapers and magazines between 1919 and 1945. Analysis the place that the music criticism has in the periodical press and in the daily life, considering it as a phenomenon that reflects and projects the musical life. Examines the role of the critics (regarding that some were also composers or musicians and other weren’t), their sociability networks and ideologies. The chronological and geographical delimitations place the music criticism in context with cultural, social and political transformations taken palce between the end of the I Republic and the middle of the dictatorial regime.