<br><div>Obrigado ao Acácio, Rodolfo Caesar, Mónica Vermes e Tiago Carvalho, que enviaram contribuições, que utilizei parcialmente, pelas razões abaixo. </div><div><br></div><div>Estou interessado na <i>new musicology</i> como movimento de ruptura localizado no tempo e no espaço. Assim, privilegiei as discussões dos anos oitenta e noventa, bem como discussões posteriores envolvendo autores e autoras mais diretamente associados à defesa da <i>new musicology</i> (McClary, Brett) ou a sua rejeição (Taruskin, Agawu, Rosen). Incluí também alguns panoramas posteriores, mas evitei as sínteses, especialmente aquelas que associam a <i>new musicology</i> à etnomusicologia. Incluí ainda trabalhos posteriores à <i>new musicology</i> de autores e autoras que dela fizeram parte, e continuaram tratando de questões polêmicas depois de o rótulo ter caído em desuso (e.g. Suzanne Cusick e seu trabalho colateral sobre a tortura). A questão negra está subrepresentada. Ela tem uma longa história, e me parece que os autores que a trataram de um ponto de vista próximo ao da NM não se associaram a esta (e.g., Paul Gilroy, Guthrie Ramsey). A questão feminina/ista está sumariamente representada. A questão lésbica e gay ocupa o maior espaço. Isso se deve à existência de uma longa bibliografia, de caráter histórico, traçando a emergência da questão L&G na musicologia --- vide o o verbete do <i>Grove</i> "Música lésbica e gay", de Philip Brett e Elizabeth Wood --- e ao fato dessa bibliografia ter sido atualizada quando da publicação do artigo na segunda edição de <i>Queering the Pitch</i>, em 2006. (A mesma versão, sem os cortes do editor do <i>Grove</i>, mas também sem a atualização bibliográfica, está disponível, em português, na <i>Revista eletrônica de musicologia</i>). Enfim, como para se chegar ao Outro da NM a psicanálise é mais útil do que uma canoa ou um avião da FAB, esta escolha me parece conseqüente e representativa da disciplina.</div>






<div><br></div><div>Incluí também um ensaio de Pierre Schaefer, a introdução ao <i>Traité des objets musicaux</i>, porque ele anuncia ali muitas das preocupações que a NM fará suas duas décadas depois. Mas não só por isso. A NM apropriando-se dos (pós-)estruturalistas franceses e tendo tido tão pouca repercussão nos meios musicológicos gálicos, é interessante ver um autor francês, tão ignorado pela musicologia francesa quanto pela NM, antecipar as preocupações desta, notadamente no que diz respeito às críticas: à Escola de Darmstadt, à obsessão pela "nota", à aridez e ao caráter meramente descritivo das análises musicais. </div>







<div><br></div><div>O mais interessante é que consegui achar quase todos os artigos desse debate no portal da CAPES, o que me levou também a valorizar os artigos em periódicos em detrimento dos livros. Para que a bibliografia ficasse completa, a CAPES só precisaria ter assinado ainda <i>Current Musicology</i>, <i>repercussions</i> e <i>The Journal of Country Music</i>.</div>







<div><br></div><div>Obrigado pelo interesse e divirtam-se, porque alguns desses textos são muito divertidos.</div><div><br></div><div>Carlos</div><div><br></div><div>--</div><div>
<br></div><div>

<p class="MsoNormal"><b><span lang="PT-BR" style="mso-bidi-font-size:11.0pt;
font-family:Arial;mso-bidi-font-family:Arial">Bibliografia:</span></b></p>

<p class="MsoNormal"><b><span lang="PT-BR" style="font-size:12.0pt;font-family:
Arial;mso-bidi-font-family:Arial"> </span></b></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Abbate, Carolyn. 1991. <i style="mso-bidi-font-style:
normal">Unsung Voices: Opera and Musical Narrative in the Nineteenth Century</i>.
Princeton: Princeton University Press.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Adams, Byron. 2000. “The ‘Dark Saying’ of the
Enigma: Homoeroticism and the Elgarian Paradox”. <i style="mso-bidi-font-style:
normal">19th-Century Music</i> 23 (3): </span><span style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
mso-bidi-font-weight:bold">218</span><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">–</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">235. [Portal CAPES]</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"></span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Agawu, Kofi. 1997. “Analyzing Music under the
New Musicological Regime”. <i style="mso-bidi-font-style:normal">The Journal of
Musicology</i> 15 (3): 297–307. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Amico, Stephen. 2001. “‘I Want Muscles’: House
Music, Homosexuality and Masculine Signification”. <i style="mso-bidi-font-style:
normal">Popular Music</i> 20 (3): 359–378. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Astmann, Dana. 2003. “</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">Freylekhe Felker: Queer
Subculture in the Klezmer Revival”. <i style="mso-bidi-font-style:normal">Discourses
in Music</i> 4 (3).</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold"></span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Bergeron, Kathrine. 1996. “The Castrato as
History”. <i style="mso-bidi-font-style:normal">Cambridge Opera Journal</i> 8
(2): 167–184. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Biddle, Ian. 2006. “On the Radical in
Musicology”. <i style="mso-bidi-font-style:normal">Radical Musicology</i> 1.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Bohlman, Philip. 1993. “Musicology as a
Political Act”. </span><i style="mso-bidi-font-style:normal"><span lang="PT-BR" style="font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">Journal
of Musicology</span></i><span lang="PT-BR" style="font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> 11 (4): </span><span style="font-family:Arial;
mso-bidi-font-family:Arial;mso-ansi-language:EN-US;mso-bidi-font-weight:bold">411–436.
[Portal CAPES]</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold"></span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Bradby, Barbara. 2002. “Oh, Boy! (Oh, Boy):
Mutual Desirability and Musical Structure in the Buddy Group”. <i style="mso-bidi-font-style:normal">Popular Music</i> 21 (1): 63–</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">91. [Portal CAPES]</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"></span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Brett, Philip. 2006. <i style="mso-bidi-font-style:
normal">Music and Sexuality in Britten: Selected Essays</i>. Berkeley, Los
Angeles e London: University of California Press.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 1997. “Piano Four-Hands: Schubert and the
Performance of Gay Male Desire”. <i style="mso-bidi-font-style:normal">19th-Century
Music</i> 21 (2): </span><span style="mso-bidi-font-size:12.0pt;font-family:
Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;mso-bidi-font-weight:
bold">149</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:
Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">–</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">176. [Portal CAPES]</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"></span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 1994. “Are You Musical? Is It Queer to Be
Queer?”. <i style="mso-bidi-font-style:normal">The Musical Times</i>, v. 135,
n. 1816, pp 370–376. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 1977. “Britten and Grimes”. <i style="mso-bidi-font-style:normal">The Musical Times</i>, v. 118, n. 1618, pp </span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">995</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-bidi-font-weight:bold">–</span><span style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
mso-bidi-font-weight:bold">997 e 999</span><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">–</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">1000. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Brett, Philip e Elizabeth Wood. [2001].
“Música lésbica e guei”. Tradução de Carlos Palombini. <i style="mso-bidi-font-style:
normal">Revista eletrônica de musicologia</i> 7, 2002.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Brett, Philip, Elizabeth Wood e Gary C.
Thomas. 2006. <i style="mso-bidi-font-style:normal">Queering the Pitch: the New
Gay and Lesbian Musicology</i>. New York e London: Routledge, segunda edição.</span></p>

<p class="MsoNormal"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Burnham, Scott. 1997. “Theorists and ‘The
Music Itself’”. <i style="mso-bidi-font-style:normal">The Journal of Musicology</i>
15 (3): 216–329. [Portal CAPES] </span></p>

<p class="MsoNormal"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Butler, Mark. 2003. “Taking It Seriously:
Intertextuality and Authenticity in Two Covers by the Pet Shop Boys”. <i style="mso-bidi-font-style:normal">Popular Music</i> 22 (1): 1–19. [Portal
CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Carter, Tim. 2002. “An American in...?”
(resenha de <i style="mso-bidi-font-style:normal">Conventional Wisdom: The
Content of Musical Form</i>, de Susan McClary). <i style="mso-bidi-font-style:
normal">Music and Letters</i> 83 (2): 274–278. [Portal CAPES] </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Clarke, David. 1993. “</span><span lang="PT-BR" style="font-family:Arial">Review: Tippett in and out of 'Those Twentieth
Century Blues': The Context and Significance of an Autobiography”. </span><i style="mso-bidi-font-style:normal"><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">Music
and Letters</span></i><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold"> 74 (3):
</span><span lang="PT-BR" style="font-family:Arial">399</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-bidi-font-weight:bold">–</span><span lang="PT-BR" style="font-family:Arial">411</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">. [Portal CAPES] </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Cook, Nicholas e Mark Everist (orgs). 1999. <i style="mso-bidi-font-style:normal">Rethinking Music</i>. Oxford: Oxford
University Press.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Cusick, Suzanne. 2008. </span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">“‘You are in a place that is
out of the world...’: Music in the Detention Camps of the ‘Global War on Terror’”.
<i style="mso-bidi-font-style:normal">Journal of the Society for American Music</i>
2 (1): 1–26. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 2008. “Musicology, Torture, Repair”. <i style="mso-bidi-font-style:normal">Radical Musicology</i> 3.</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold"></span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 2006. “Music as Torture / Music as
Weapon”. <i style="mso-bidi-font-style:normal">Transcultural Music Review</i>
10.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 2006. “La música como tortura / La música
como arma”. Tradução de </span><span style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
mso-bidi-font-weight:bold">Sebastián Cruz e Ruben Lopez Cano. </span><i style="mso-bidi-font-style:normal"><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">Revista
transcultural de música </span></i><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">10.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 2001. “‘Eve... Blowing in Our Ears’?
Towards a History of Music Scholaship on Women in the Twentieth Century”. <i style="mso-bidi-font-style:normal">Women and Music</i> 5: 125–139. [Portal
CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 1994. “Feminist Theory, Music Theory, and
the Mind/Body Problem”. <i style="mso-bidi-font-style:normal">Perspectives of
New Music</i> 32 (1): 8–27. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">DeChaine, D. Robert. 1997. “Mapping Subvertion:
Queercore Music’s Playful Discourse of Resistance”. <i style="mso-bidi-font-style:
normal">Popular Music and Society</i> 21 (4): 7–37. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Geyrhalter, Thomas. 1996. “Effeminacy, Camp
and Sexual Subversion in Rock: The Cure and Suede”. <i style="mso-bidi-font-style:
normal">Popular Music</i> 15 (2): 217–224. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Gittings, Christopher. 2001. “‘Zero Patience’,
Genre, Difference, and Ideology: Singing and Dancing Queer Nation”. <i style="mso-bidi-font-style:normal">Cinema Journal</i> 41 (1): 28–39. [Portal
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Grossman, Maxine L. 2002. “Jesus, Mama, and
the Constraints of Salvific Love in Contemporary Country Music”. <i style="mso-bidi-font-style:normal">Journal of the American Academy of Religion</i>
70 (1): 83–115. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Head, Matthew. 1995. “‘Like Beauty Spots on
the Face of a Man’: Gender in 18th-Century North-German Discourse of Genre”. <i style="mso-bidi-font-style:normal">The Journal of Musicology</i> 13 (2):
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Heile, Björn. 2004. “Darmstadt as Other:
British and American Responses to Musical Modernism”. <i style="mso-bidi-font-style:
normal">twentieth-century music</i> 1 (2): 161–178. [Portal CAPES]</span></p>

<p class="MsoNormal"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Hicks, Michael. 1991. “The Imprisonment of
Henry Cowell”. <i style="mso-bidi-font-style:normal">Journal of the American
Musicogical Society</i> 44 (1): 92–119. </span><span style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
mso-bidi-font-weight:bold">[Portal CAPES]</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-bidi-font-weight:bold"></span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Hindley, Clifford. 1989. “</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">Love and Salvation in
Britten's ‘Billy Budd’”. <i style="mso-bidi-font-style:normal">Music and
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Holsinger, Bruce W. 1993. “The Flesh of the
Voice: Embodiment and the Homoerotics of Devotion in the Music of Hildegard of
Bingen (1098–1179)”. <i style="mso-bidi-font-style:normal">Signs: Journal of
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Hubbs, Nadine. 2000. “A French Connection: Modernist
Codes in the Musical Closet”. <i style="mso-bidi-font-style:normal">GLQ: A
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Johnson, Bruce. 2003. “Two Paulines, Two
Nations: An Australian Case Study in the Intersection of Popular Music and
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Johnson, Maria V. 2003. “‘Jelly Jelly
Jellyroll’: Lesbian Sexuality and Identity in Women’s Blues”. <i style="mso-bidi-font-style:normal">Women and Music</i> 7: 31–52. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Keyes, Cheryl L. 2000. “Empowering Self,
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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um florilégio de definições e personificações”. Tradução de Carlos Palombini.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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Sexuality in Music Scholarship</i>. Berkeley: University of California Press.</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 1991. “What do Feminists Want? A Reply to
Pieter van den Toorn”. <i style="mso-bidi-font-style:normal">Journal of
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Solomon, Maynard. 1989. “Franz Schubert and
the Peacocks of Benvenuto Cellini”. <i style="mso-bidi-font-style:normal">19th-Century
Music</i> 12 (3): </span><span style="mso-bidi-font-size:12.0pt;font-family:
Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;mso-bidi-font-weight:
bold">193</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:
Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">–</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">206</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-bidi-font-weight:bold">. [Portal CAPES]</span><span style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
mso-bidi-font-weight:bold"></span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">———. 1987. “Charles Ives: Some Questions of
Veracity”. <i style="mso-bidi-font-style:normal">Journal of the American
Musicological Society</i> 40 (3): 443–470. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Stanfield, Peter. 2002. “An Excursion into the
Lower Depths: Hollywood, Urban Primitivism, and ‘St. Louis Blues’, 1929–1937”. <i style="mso-bidi-font-style:normal">Cinema Journal</i> 41 (2): 84–108. [Portal
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Stern, Howard. 1995. “</span><i style="mso-bidi-font-style:normal"><span style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
mso-bidi-font-weight:bold">Developing Variations: Style and Ideology in Western
Music</span></i><span style="mso-bidi-font-size:12.0pt;font-family:Arial;
mso-bidi-font-family:Arial;mso-ansi-language:EN-US;mso-bidi-font-weight:bold">
by Rose Rosengard Subotnik</span><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">”.
<i style="mso-bidi-font-style:normal">Journal of Music Theory</i> 39 (1):
139–145. [Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Subotnik, Rose Rosengard. 1991. <i style="mso-bidi-font-style:normal">Developing Variations: Style and Ideology in
Western Music</i>. Minneapolis: University of Minnesota Press. </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Taruskin, Richard. 2005. “Speed Bumos”. <i style="mso-bidi-font-style:normal">19th-Century Music</i> 29 (2): 185–207. [Portal
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Tomlinson, Gary. 1991. “</span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">Cultural Dialogics and Jazz:
A White Historian Signifies</span><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">”.
<i style="mso-bidi-font-style:normal">Black Music Research Journal</i> 11 (2): </span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">229</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-bidi-font-weight:bold">–</span><span style="mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
mso-bidi-font-weight:bold">264</span><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">.
[Portal CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Toorn, Pieter van den. 1991. “Politics,
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Treitler, Leo. 1989. “The Power of Positivist
Thinking: </span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;
mso-bidi-font-family:Arial;mso-ansi-language:EN-US;mso-bidi-font-weight:bold">Joseph
Kerman. <i style="mso-bidi-font-style:normal">Contemplating Music: Challenges
to Musicolog</i></span><i style="mso-bidi-font-style:normal"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-bidi-font-weight:bold">y</span></i><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">”.
<i style="mso-bidi-font-style:normal">Journal of the American Musicological
Society</i> 42 (2): </span><span style="mso-bidi-font-size:12.0pt;font-family:
Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;mso-bidi-font-weight:
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font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">[Portal
CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Truax, Barry. 2003. “Homoeroticism and
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normal">Organised Sound</i> 8 (1): 117</span><span style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
mso-bidi-font-weight:bold">–124. </span><span lang="PT-BR" style="mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Arial;mso-bidi-font-weight:bold">[Portal
CAPES]</span></p>

<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Walser, Robert. 1993. </span><i><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold">Running with the Devil:
Power, Gender, and Madness in Heavy Metal Music</span></i><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-ansi-language:EN-US;mso-bidi-font-weight:bold;mso-bidi-font-style:italic">.<i>
</i></span><span style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Winkler, Kevin. 2000. “Stars of the Tubs!: A
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mso-ansi-language:EN-US;mso-bidi-font-weight:bold">–</span><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Arial;
mso-bidi-font-weight:bold">1976”. <i style="mso-bidi-font-style:normal">Theatre
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font-family:Arial;mso-bidi-font-family:Arial;mso-ansi-language:EN-US;
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Wolf, Stacy. 1997. “‘Never Gonna ne A
Man/Catch Me if You Can/I Won’t Grow Up’: A Lesbian Account of Mary Martin as
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold">Wood, Elizabeth. 1995. “Performing Rights: A
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<p class="MsoNormal" style="margin-left:35.45pt;text-indent:-35.45pt"><span lang="PT-BR" style="mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Arial;mso-bidi-font-weight:bold"> </span></p>




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