{"id":282,"date":"2014-08-22T23:39:27","date_gmt":"2014-08-22T23:39:27","guid":{"rendered":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/?p=282"},"modified":"2014-11-15T21:14:58","modified_gmt":"2014-11-15T21:14:58","slug":"8-2-semelhanca-e-piano-phase-steve-reich","status":"publish","type":"post","link":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/?p=282","title":{"rendered":"8.2 SEMELHAN\u00c7A E PIANO PHASE, STEVE REICH"},"content":{"rendered":"

\u00a0 \u00a0 \u00a0 \u00a0A lei da \u201cSemelhan\u00e7a\u201d ou \u201cSimilaridade\u201d, possivelmente \u00e9 a lei mais \u00f3bvia e possivelmente a lei que nos mostra o tipo de varia\u00e7\u00e3o da percep\u00e7\u00e3o que ela pode causar de forma mais evidente. Esta lei \u00a0define que os objetos similares tendem a serem agrupados pela\u00a0 percep\u00e7\u00e3o humana. A \u201cSimilaridade\u201d pode estar entre as cores dos objetos, entre as textura e \u00a0sensa\u00e7\u00e3o de massa dos elementos. Estas caracter\u00edsticas podem ser exploradas quando desejamos criar rela\u00e7\u00f5es ou agrupar elementos na composi\u00e7\u00e3o de uma figura. Por outro lado, o mau uso da \u201cSimilaridade\u201d pode dificultar a percep\u00e7\u00e3o visual como, por exemplo, o uso de texturas semelhantes em elementos do \u201cfundo\u201d e em elementos do primeiro plano.<\/p>\n

\"Figura<\/a>

Figura 22: Semelhan\u00e7a exemplo 2 – Estrela<\/p><\/div>\n

 <\/p>\n

\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u201cNesta figura, as tr\u00eas unidades estelares b\u00e1sicas sobrepostas se segregam claramente pelos fatores de proximidade e de semelhan\u00e7a (sobretudo pelas formas triangulares e pelas cores). A figura como um todo aparentementa uma unifica\u00e7\u00e3o apenas razoave, por apresentar alguns ruidos visuais \u2013 acima da unidade central \u2013 e, sobretudo, pelo deslocamento da superposi\u00e7\u00e3o das tr\u00eas unidades basicas, que compromete sua harmonia em termos de uma ordena\u00e7\u00e3o equilibrada.\u201d[1]<\/a><\/p>\n<\/blockquote>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 A analise das probabilidades de varia\u00e7\u00f5es perceptuais com esta lei perceptual da Gestalt teve seu foco em cima da t\u00e9cnica de \u201cPhase Shift\u201d desenvolvida por Steve Reich neste trabalho. Steve Reich \u00e9 um dos expoentes mais conhecidos do Minimalismo norte-americano. O Minimalismo, como fruto direto do experimentalismo norte-americano levou \u00e0s \u00faltimas consequ\u00eancias os processos de repeti\u00e7\u00e3o. Portanto, o minimalismo se define n\u00e3o apenas por processos de repeti\u00e7\u00e3o, mas por processos sistem\u00e1ticos de repeti\u00e7\u00e3o. Podemos ter uma ideia do que Reich tinha em mente quando desenvolvia estas t\u00e9cnicas atrav\u00e9s algumas de suas palavras em seu manifesto minimalista escrito em 1968 e publicado em 1974 pela Writing About<\/i> Music<\/i>: \u00a0\u00a0\u00a0<\/i><\/p>\n

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\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u201cEu n\u00e3o quero dizer processo de composi\u00e7\u00e3o, mas sim obras que s\u00e3o literalmente processos. O que \u00e9 distintivo em um processo musical deste tipo \u00e9 que ele determina todos os detalhes, de nota para nota, de uma composi\u00e7\u00e3o, e toda a sua forma simultaneamente, Estou interessado em processos percept\u00edveis. Quero ser capaz de ouvir o processo acontecendo atrav\u00e9s do fluxo de toda a extens\u00e3o da m\u00fasica…Processos musicais podem nos dar contato direto com o impessoal e tamb\u00e9m um tipo de controle completo…por esse \u201ctipo\u201d de controle completo eu quero dizer que, ao fazer esse material se articular atrav\u00e9s desse processo, eu controlo completamente todos os resultados, mas tamb\u00e9m aceito todos os resultados sem mudan\u00e7as.\u201d[2]<\/a><\/p>\n<\/blockquote>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 A pe\u00e7a articula um mesmo padr\u00e3o de doze notas, apresentado inicialmente no piano I (P.1) na seq\u00fc\u00eancia logo introduzida, em un\u00edssono, pelo piano II (P.2). A partir da\u00ed o piano II gradualmente defasa em rela\u00e7\u00e3o ao \u00a0piano I, atrav\u00e9s de um sutil accelerando<\/i>, at\u00e9 a segunda semicolcheia do padr\u00e3o repetido no piano II (F\u00e1 #) se encontrar com a primeira semicolcheia (Mi) do padr\u00e3o repetido no piano I (o piano I mant\u00e9m sempre uma mesma velocidade). Quando existe um alinhamento dos padr\u00f5es (quando os dois instrumentistas est\u00e3o tocando na mesma velocidade e sincronizados) o padr\u00e3o \u00e9 repetido de 16 a 24 vezes at\u00e9 a pr\u00f3xima defasagem ser iniciada. Quando existe uma nova defasagem esta se d\u00e1 no per\u00edodo de tempo entre 4 e 16 repeti\u00e7\u00f5es.<\/p>\n

\"Exemplo<\/a>

Exemplo Musical 13: Padr\u00e3o constante de Piano Phase P1<\/p><\/div>\n

\"Figura<\/a>

Figura 23: Padr\u00e3o constante de Piano Phase<\/p><\/div>\n

<\/div>\n
<\/div>\n
\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
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\"PH<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"PH<\/a> \u00a0 \u00a0 \u00a0 \u00a0\"PH<\/a><\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\"PH<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"PH<\/a>\u00a0 \u00a0 \u00a0\u00a0\"PH<\/a><\/p>\n<\/div>\n

\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
F#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
\"PH<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"PH<\/a>\u00a0\u00a0\"PH<\/a><\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
B<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
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\u00a0<\/a>\"PH\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/a>\"PH<\/a>\"PH<\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
C#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
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\"Exemplo<\/a><\/p>\n

 <\/p>\n<\/div>\n

<\/div>\n
\"PH<\/a>\"PH<\/a><\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
D<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
\"PH<\/a><\/div>\n
<\/div>\n
<\/div>\n
\"PH<\/a>\"PH<\/a><\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
F#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
<\/div>\n
\"PH<\/a><\/div>\n
<\/div>\n
<\/div>\n
\"PH<\/a>\"PH<\/a><\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
E<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
\"PH<\/a><\/div>\n
\"PH<\/a>\"PH<\/a><\/div>\n
<\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
C#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\"PH<\/a><\/div>\n
<\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
B<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
\"PH<\/a><\/div>\n
<\/div>\n
\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
F#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
<\/div>\n
\"PH<\/a><\/div>\n
<\/div>\n
\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
D<\/span><\/td>\nC#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div>\n
<\/div>\n
<\/div>\n
\"PH<\/a><\/div>\n
<\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
C#<\/span><\/td>\nE<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
<\/div>\n
\"PH<\/a><\/div>\n
<\/div>\n
<\/div>\n
\n\n\n\n\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n
E<\/span><\/td>\nF#<\/span><\/td>\nB<\/span><\/td>\nC#<\/span><\/td>\nD<\/span><\/td>\nF#<\/span><\/td>\nE<\/span><\/td>\nC#<\/span><\/td>\nB<\/span><\/td>\nF#<\/span><\/td>\nD<\/span><\/td>\nC#<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n
<\/div>\n
<\/div>\n
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\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Podemos observar uma rela\u00e7\u00e3o entre as duas leis semelhan\u00e7a e proximidade na figura a seguir:<\/p>\n

As linhas est\u00e3o perfeitamente alinhadas horizontalmente, no entanto nossa percep\u00e7\u00e3o desenvolve in\u00fameras varia\u00e7\u00f5es da realidade curvando as linhas ou atribuindo movimento as figura que \u00e9 inerte.<\/p>\n<\/div>\n

<\/div>\n
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\"Gestalt<\/a><\/div>\n
\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0Exemplo de semelhan\u00e7a e proximidade com linhas alinhadas horizontalmente<\/p>\n<\/div>\n

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[1]<\/a>\u00a0 Gestalt do Objeto: sistema de leitura visual da forma \/ Jo\u00e3o Gomes Filho.<\/p>\n

S\u00e3o Paulo, Escrituras Editora, 2000.<\/p>\n

 <\/p>\n<\/div>\n

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[2]<\/a> REICH, Steve. Writings about Music<\/i>. Halifax: Nova Scotia College of Art and Design, 1974 (pag.9, 10)<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

\u00a0 \u00a0 \u00a0 \u00a0A lei da \u201cSemelhan\u00e7a\u201d ou \u201cSimilaridade\u201d, possivelmente \u00e9 a lei mais \u00f3bvia e possivelmente a lei que nos mostra o tipo de varia\u00e7\u00e3o da percep\u00e7\u00e3o que ela pode causar de forma mais evidente. Esta lei \u00a0define que os objetos similares tendem a serem agrupados pela\u00a0 percep\u00e7\u00e3o humana. A \u201cSimilaridade\u201d pode estar entre as cores dos objetos, entre… (more…)<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-282","post","type-post","status-publish","format-standard","hentry","category-pesquisa-research"],"_links":{"self":[{"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=\/wp\/v2\/posts\/282","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=282"}],"version-history":[{"count":30,"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=\/wp\/v2\/posts\/282\/revisions"}],"predecessor-version":[{"id":349,"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=\/wp\/v2\/posts\/282\/revisions\/349"}],"wp:attachment":[{"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=282"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=282"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/institutomusicalrenatobon.com.br\/pesquisa\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}