Navegando por Autor "MAIA, Gilda Helena Gomes"

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Acesso aberto (Open Access)
Helena Nobre: uma musicista paraense da primeira metade do século XX
(Universidade Federal do Pará, 2011-03-01) MAIA, Gilda Helena Gomes; BARROS, Líliam Cristina da Silva; http://lattes.cnpq.br/0286644614789784
Helena Couto Nobre (1888-1965) is part of the third generation Nobre Family, who, as her ancestors and siblings, had a career in music, excelling in the art of opera singing, playing, composing, and also giving private lessons. She had the opportunity to go on stage with several of her relatives, especially with her brother Ulysses Nobre – a pair of singers who today is remembered under the title Nobre Brothers. With Ulysses, Helena shared not only his career but also the stigma of leprosy: even cured, there were the consequences; even singing, they were cloistered at home on Campos Sales Street, which was baptized by the Society of Para as the Golden Cage, for keeping the Uirapurus from Para. Helena became known as the Nightingale from Para in several Brazilian cities and in Europe, through music programs broadcast by Pará Radio Club - PRC-5 – that she took part. Not yet had the career of this woman investigated, who, even with the stigma of the disease, had the courage to expose and take profession of a singer. The current tendency of the historian is to reconstruct its historical object from the representations on it. So in this sense, the following master’s research - Helena Nobre: a paraense musician in of the first half of the twentieth century – aimed to investigate the history of Helena Nobre and her musical activity, building, from the biographical method and the social representations, her intellect and musical biography. This research also sought to address the interpretive and compositional repertoire of Helena Nobre and the major artistic events that she took part, realizing her presence on the musical scene of her time. The social representations of the society of her time were taken from historical sources – oral, documentary and literature – through interviews with relatives and friends of the singer and through a systematic reviews of the literature on public and private collections of Belém, in sources such as: photos, newspapers, magazines, letters, musical scores, concert programs, scrapbooks, personal belongings, paintings, poetry, posthumous tributes. To support this research, it was sought an approach with the theoretical studies about: historical musicology, gender relations, cultural heritage and living memory. The aim is to expand the musical historiography of Pará, taking the silence that has hovered over the history of life, music education and performance of Helena Nobre.
Acesso aberto (Open Access)
Uirapurus Paraenses: O legado histórico e a prática artístico-musical dos cantores líricos paraenses Helena Nobre (1888-1965) e Ulysses Nobre (1887-1953)
(Universidade Federal do Pará, 2023-06-16) MAIA, Gilda Helena Gomes; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
The doctoral thesis Musician Wrens: the historical legacy and the artistic-musical practice of the opera singers from Pará Helena Nobre (1888-1965) and Ulysses Nobre (1887-1953) proposes to reflect on the historical legacy of these artists, identifying their artistic-musical practice from the public and private collections of Belém. As public collectins there are: Museum of The State of Pará, Arthur Vianna Library (Sections of Rare Works, Microfilms and Newspapers); Museum of Federal University of Pará (Vicente Salles Collection); Theater of Peace; Carlos Gomes State Institute; Santa Izabel Cemetery and Music Academy of Pará. And, as private collections, the ones of: Maria do Céo Nobre Gomes; Helena Maia; Maria Gilda Nobre; Maria Helena Nobre; Jorge Nobre de Brito; Vicente Salles; Gilda Maia; Lenora Brito; e Urubatam Castro. The thesis still proposes: 1) check the status of these files and the curent accessibility to the historical and artistic of Helena Nobre and Ulysses Nobre; 2) investigate who Helena and Ulysses were, their trajectory, their artistic-musical activity and performance Spaces; 3) highlight the compositions, the interpretative repertoire of Helena and Ulysses and the network of relationships – the Society of their era – that kept them active, helped them to spread their artistic-musical work and enabled their artistic trajectory, despite theis social and health disavantages; 4) propose the mapping, the virtual meeting and the dissemination of this legacy, contributing to the accessibility, the rememorization and to the appropriation of this history by the actual Society: by living memory. The search references authors such as: V. Borges (2006) and K. Oliveto (2007), in the field of biographical genre in music, through the collection and interpretation of historical documentary, bibliographicand oral sources; S. Freitas (1983) and E. Bosi (1994), in Oral History; R. Laraia (2001), C. Geertz (1975) and J. Blacking (2006. 2021), in the field of Music as Culture; P. Castagna (2004, 2006, 2008, 2016), L. Oliveira (2012) and L. Heymann (1997, 2012), in the field of Music Archival Science; E. Santos (2004), J. Santos (1996), J. Ferreira (1983), D. Silva (2009) and C. Batista (2005), in the field of Cultural Heritage, Memory and Identity; P. Nora (1993), in the field of Place of Memory; M. Sant’Anna (2006), L. Lévi-Strauss (2006) and F. Maia (2003), in the field of Living Memory; P. Bourdieu (1974, 1996, 1998, 2007), in the field of Cultural and Social Capital. It’s concluded that giving accessibility to what is kept in a museu, or in a library – place of memory – is to reach the actual Society, showing – from the artistic-musical work of Helena Nobre and Ulysses Nobre – part of cultural production of the first Half of twentieth century in Belém, contributing to future academic investigations.