Abstract Inspired by Paul Gilroy's O Atlântico Negro (The Black Atlantic; 1993/2001), this study sets out to interpret four renowned Brazilian popular music (MPB) lyrics: "Chico Rei" (Jarbas Soares, Djalma de Oliveira Costa e Geraldo Soares de Carvalho, 1964); "Zumbi" (Jorge Ben, 1974); "Mestre Sala dos Mares" (João Bosco & Aldir Blanc, 1975) and "Morena de Angola" (Chico Buarque, 1980). By examining the songs within the intellectual framework of The Black Atlantic, the analysis focuses on two main perspectives for interpretation: (a) the imaginary of time/history and (b) the gendered principles of enunciation. Following the methodological approach proposed by Gilroy (1993/2001), music emerges as a public space for articulating and disseminating memories of the black diaspora. Informed by the historical struggles waged by black people, the lyrics reclaim narratives insistently invisible and challenge the supposed place of political "non-agency" of enslaved populations or those living under authoritarian regimes. These compositions, confronting the urgency to break free from the tiresome chorus of a single history, provide privileged access to memories of uprisings against enslavement and colonialism, spreading decolonial knowledge in the contemporary context. The production and inscription of an oppositional memory - one that claims space and place while contesting sedimented versions - is a constant endeavour that is closely related to the establishment of new horizons for struggle in the present.

Resumo Tendo como inspiração O Atlântico Negro de Paul Gilroy (1993/2001), propomos realizar um exercício de interpretação de quatro letras consagradas da música popular brasileira (MPB). São elas: “Chico Rei” (Jarbas Soares, Djalma de Oliveira Costa e Geraldo Soares de Carvalho, 1964); “Zumbi” (Jorge Ben, 1974); “Mestre Sala dos Mares” (João Bosco & Aldir Blanc, 1975) e “Morena de Angola” (Chico Buarque, 1980). Ao tomarmos as canções como parte do arcabouço intelectual d’O Atlântico Negro, consideramos duas principais chaves de leitura: (a) o imaginário de tempo/história e (b) os princípios generificados de enunciação. Seguindo a trilha metodológica proposta por Gilroy (1993/2001), identificamos a música como espaço público de elaboração e difusão de memórias sobre a diáspora negra. Informadas por lutas históricas travadas pelo povo negro, as canções recuperam narrativas insistentemente invisibilizadas e questionam o suposto lugar de “não-agência” política das populações escravizadas ou vivendo sob regimes autoritários. Frente à urgência em interromper o cansativo refrão da história única, encontramos nessas obras acesso privilegiado às recordações sobre revoltas contra a escravização e o colonialismo, difundindo no presente saberes decoloniais. A produção e inscrição de uma memória oposicional - aquela que reivindica espaço e lugar ao mesmo tempo em que contesta versões sedimentadas - é um trabalho constante que está intimamente relacionado com o estabelecimento de novos horizontes de luta no presente.

Abstract Angolan protest music’s as a repertory that challenged the colonial system benefitted from the European careers of some of its artists. In this article, the absence of Angolan musicians among “the singers of April, or their non-recognition in the historiographical memory of Portugal’s Carnation Revolution, is discussed. It explores some possible explanations for this, by comparing memories of the musicians with the treatment given to the most influential figures of Portuguese and Angolan cultures in the Dictionaries about the Estado Novo (dictatorial regime) and the 25th of April (the date of the revolution). In addition to identifying possible causes for these absences, the Eurocentric thinking underlying this “state of memories” is also examined, with counterarguments made as to the reasonableness of their inclusion within the categories of protest song.

Resumo A música angolana enquanto repertório de resistência ao sistema colonial beneficiou da trajetória europeia de alguns dos seus intérpretes. Neste artigo questiona-se a não inclusão destes artistas como cantores de Abril, o seu não reconhecimento na memória historiográfica do período que permeia a Revolução dos Cravos. Exploram-se possíveis explicações para isso, cotejando as memórias e o passado dos músicos com o tratamento conferido às figuras mais influentes das culturas portuguesa e angolana nos dicionários sobre o Estado Novo e o 25 de Abril. Identificam-se, além das causas possíveis para estas ausências, o pensamento eurocêntrico que subjaz a algumas das presenças, e contra-argumenta-se no sentido da razoabilidade da sua inclusão dentro das categorias associadas à música de protesto.

Résumé La musique angolaise en tant que répertoire de résistance au système colonial a bénéficié de la trajectoire européenne de certains de ses interprètes. Cet article interroge la non-inclusion de ces artistes en tant que « chanteurs d’avril », leur non-reconnaissance dans la mémoire historiographique de la période médiatrice de la Révolution des Œillets. On explore des explications possibles, en comparant les mémoires et le passé des musiciens avec le traitement réservé aux figures les plus influentes des cultures portugaise et angolaise dans les dictionnaires de l’Estado Novo (régime dictatorial) et du 25 avril (date de la révolution). Outre les causes possibles de ces absences, on identifie la pensée eurocentrique qui sous-tend certaines présences et on contre-argumente quant au caractère raisonnable de l’inclusion de ces musiques dans les catégories de la musique contestataire.

Abstract: The history of production of The Birth of Tragedy can be followed, in its diverse stages, by means of its preparatory texts. My goal is to carry out a general description of this process. By doing so, I hope to honor Lima’s The Masks of Dionysus . In this book, he analyzed the echoes of Nietzsche’s first work in the totality of his Oeuvre (the published and the posthumous one). Abstract followed stages texts process so Limas Lima s book Nietzsches Nietzsche one. one one)

Resumo: A história da produção de O nascimento da tragédia pode ser acompanhada, em seus diversos estádios, a partir dos seus textos preparatórios. Meu objetivo é realizar uma descrição panorâmica desse processo, como homenagem ao trabalho realizado por Márcio Lima, em As máscaras de Dioniso . Nesse livro, ele analisou os ecos do primeiro livro de Nietzsche no conjunto de sua obra (publicada e póstuma). Resumo acompanhada estádios preparatórios processo Lima publicada póstuma. póstuma póstuma)

Abstract: The development of Chinese opera art, in modern times, has greatly changed with the times. Explaining the essence of Chinese opera and vocal music art from the Western modern hermeneutics and reception aesthetics theory is conducive to sorting out the development context and characteristics of Chinese opera in different times. At the same time, providing a systematic analysis method for modern opera and vocal music aesthetics promotes the aesthetic development of the art and contributes to the form innovation and technical refinement of domestic opera and vocal music art. The research starts with the theoretical analysis of hermeneutics and reception aesthetics and verifies and explores the development history of Chinese opera. The analysis of the artistic essence of opera and vocal music will be summarized mainly from the perspective of the object of the opera text and the subject of the aesthetic audience. The purpose of this research is to explain the essential characteristics of opera and vocal music art from the relationship between the subject and the object. Besides, it aims to examine the relationship between the understanding behavior of the masses and the creators and performers’ summary behavior for opera and vocal music art. Abstract times time audience Besides performers

Resumen: El desarrollo del arte de la ópera china en la época moderna ha cambiado mucho con el tiempo. Explicar la esencia del arte de la ópera china y la música vocal desde la teoría de la hermenéutica y la estética de la recepción occidental moderna es beneficioso para ordenar el contexto y las características de desarrollo de la ópera china en diferentes momentos. Al mismo tiempo, proporcionar un método de análisis sistemático para la estética moderna de la ópera y la música vocal promueve el desarrollo estético del arte y contribuye a la innovación de la forma y la refinación técnica del arte de la ópera y la música vocal nacional. La investigación comienza con el análisis teórico de la hermenéutica y la estética de la recepción y verifica y explora la historia de desarrollo de la ópera china. El análisis de la esencia artística de la ópera y la música vocal se resumirá principalmente desde la perspectiva del objeto del texto operístico y el sujeto del público estético. El propósito de esta investigación es explicar las características esenciales del arte de la ópera y la música vocal desde la relación entre el sujeto y el objeto. Además, tiene como objetivo examinar la relación entre el comportamiento de comprensión de las masas y el comportamiento de resumen de los creadores y artistas para el arte de la ópera y la música vocal. Resumen tiempo momentos nacional Además

Abstract: Music education, as an important discipline, has always received attention from the education and music communities. Music is not just an art form, but the carrier of human expression, cognition and behavior. However, there are differences in views on the purpose and content of music education. Different cultural backgrounds in China and the West place different emphasis on music education. By comparing music education philosophies, under different concepts, one can understand the music education practices and concepts of different cultures, thereby promoting cross-cultural communication and understanding. Philosophy is a discipline that explores fundamental issues and principles, emphasizing speculative and critical thinking. In China’s history, philosophical ideas have played an important role in shaping music education. Ancient China’s philosophical ideas, such as Confucianism, Taoism and Buddhism, have had a profound impact on the understanding and education of music. In order to better understand the internal connection between musical art forms and expressive behavior, and to gain a deeper understanding of the essence and significance of music, this article adopted a comparative research method from a philosophical perspective to debate the concept of music education and explore its essence and goals. By comparing different perspectives, the aim is to propose a comprehensive concept of music education to promote students’ comprehensive development. This article started from the dialectical relationship between the essence of music and philosophy, and then analyzed different music education concepts from a philosophical perspective. Finally, from a philosophical perspective, it studied the inspiration for music education reform. Music education should not only focus on skills and performance, but also on the cultivation of aesthetic and thinking abilities. Analyzing from a philosophical perspective, we can better understand the essence and significance of music, explore the value of music education, solve problems in it and promote sustainable development of music education. At the same time, it can have profound impacts in fields, such as psychology, sociology and healthcare. It effectively demonstrates the multiple values and roles of music education, providing a broader perspective for the public to understand and promote music education. Abstract communities form expression behavior However philosophies cultures crosscultural cross principles Chinas s history Confucianism Buddhism goals perspectives students philosophy Finally reform performance abilities time fields psychology healthcare

Resumo: A educação musical, como uma disciplina importante, sempre recebeu atenção das comunidades educacionais e musicais. A música não é apenas uma forma de arte, mas o veículo da expressão, da cognição e do comportamento humanos. Contudo, há diferenças de pontos de vista sobre o objetivo e o conteúdo da educação musical. As diferentes origens culturais, na China e no Ocidente, dão ênfase diferente à educação musical. Ao comparar filosofias de educação musical sob distintos conceitos, é possível compreender as práticas e os conceitos de educação musical de culturas diversas, promovendo, assim, a comunicação e a compreensão interculturais. A filosofia é uma disciplina que explora questões e princípios fundamentais, enfatizando o pensamento especulativo e crítico. Na história da China, as ideias filosóficas desempenharam um papel importante na formação da educação musical. As ideias filosóficas da China antiga, como o confucionismo, o taoísmo e o budismo, tiveram um impacto profundo na compreensão e na educação musical. Para entender melhor a conexão interna entre as formas de arte musical e o comportamento expressivo, e para obter uma compreensão mais profunda da essência e do significado da música, este artigo adotou um método de pesquisa comparativa, com base em uma perspectiva filosófica, a fim de debater o conceito de educação musical e explorar sua essência e seus objetivos. Ao comparar diferentes perspectivas, o objetivo é propor um conceito abrangente de educação musical, para promover o desenvolvimento integral dos alunos. Este texto partiu da relação dialética entre a essência da música e a filosofia e, em seguida, analisou diferentes conceitos de educação musical, a partir de uma perspectiva filosófica. Por fim, ainda em função de uma perspectiva filosófica, ele estudou a inspiração para a reforma da educação musical. A educação musical não deve se concentrar apenas em habilidades e desempenho, mas também no cultivo de habilidades estéticas e de pensamento. Analisar, a partir de uma perspectiva filosófica, pode ajudar a entender melhor a essência e o significado da música, explorar o valor da educação musical, resolver problemas na educação musical e promover o seu desenvolvimento sustentável. Ao mesmo tempo, ela pode ter impactos profundos em certas áreas, como psicologia, sociologia e saúde. Este trabalho demonstra, com eficácia, os múltiplos valores e funções da educação musical, oferecendo uma perspectiva mais ampla, para que o público entenda e promova essa educação. Resumo musicais expressão humanos Contudo culturais Ocidente diversas promovendo assim interculturais fundamentais crítico antiga confucionismo budismo expressivo comparativa filosófica objetivos perspectivas alunos seguida desempenho Analisar sustentável tempo áreas psicologia saúde demonstra eficácia ampla

ABSTRACT: The different Latin American handcraft tells us stories from any material used in the piece. Their differences have been nourished by ancient ethnic roots and they are based in the diversity of each continental region. The crafts are as mixed as Latin America itself. In Cuba, this kind of good is created by subjects who are far away from the academic sector. The empirical knowledge is transmitted from one generation to the next, within the same community and/ or family, and consequently, historical value is added to this production, rather than its use value. The present paper exposed the handcrafts made by a descendant family from Haitian immigrants, known as “The Richards” who have settled down in a rural place located in the East part of Cuba. They are heir of a long tradition proceeding from this nearby country. Their familiar social practices creating their handcraft and also music contribute to the neighbor community. Qualitative perspective used through some in-depth interviews and the ethnographic observation allow not only examine their history and the different ways to make their goods, but also to expose their creative values and the importance of this family as a traditional group within the region and the nets of institutional structure of the East part of this Caribbean island. ABSTRACT piece itself Cuba sector next consequently production immigrants Richards country indepth depth goods island

RESUMEN: Las variopintas artes y oficios populares latinoamericanos son apreciadas por nutrirse de raíces étnicas ancestrales, que cuentan su historia en el tejido o el material de la pieza. Entre ellos, las artesanías distinguen el color mestizo del continente. En Cuba, algunas producciones de este tipo narran el paso de los siglos en manos de artífices alejados del conocimiento académico. Los saberes creativos, transmitidos fundamentalmente de forma generacional, en la comunidad o en la familia, aportan valores históricos a artículos de uso utilitario o no. Precisamente este tema expone a una familia descendiente de inmigrantes haitianos de una zona rural del oriente del país, herederos de una tradición artesanal también procedente de Haití. Su obra resulta interesante en tanto devela cómo las prácticas familiares y comunales rurales de este grupo portador conocido como Los Richard devienen en una producción cultural (artesanal y también musical) que favorece al entorno social donde se enclavan. La perspectiva cualitativa expresa en diversas entrevistas en profundidad y la observación etnográfica nos permitió no solo ahondar en la historia y las formas de hacer artesanía de esta familia creadora, sino también divulgar los valores de su producción y sus logros como grupo familiar portador dentro del mismo municipio y las redes de la cultura de toda la región oriental de la ínsula cubana. RESUMEN ancestrales pieza ellos continente Cuba académico creativos generacional país Haití musical enclavan creadora cubana

Resumo Baseada na história da imigração das diversas etnias que colaboram para a construção identitária de Campo Grande, MS, encontram-se as contribuições da colônia paraguaia. Com o objetivo de apontar traços identitários da cultura paraguaia sobre a cultura campo-grandense e suas relações com a Rota Bioceânica, esta pesquisa, de natureza bibliográfica e documental, utilizou-se também do Discurso do Sujeito Coletivo (DSC) como técnica de análise aplicada às respostas com o método da saturação utilizado para fechar as amostras. O texto abordou as contribuições da cultura paraguaia na cultura campo-grandense desde os primórdios da cidade morena, e de que maneira a posição estratégica de Campo Grande na implantação da Rota Bioceânica, estreitará mais evidentemente as duas culturas, apontando os possíveis impactos socioculturais dessa potencialização. Uma vez que a pesquisa demonstrou que a cultura campo-grandense se converge em vários momentos com a cultura paraguaia, seja na música, na dança ou na gastronomia, desta forma, a cultura paraguaia pode ser considerada como um traço identitário na cultura campo-grandense. MS encontramse encontram campograndense campo grandense Bioceânica documental utilizouse utilizou DSC (DSC amostras morena culturas potencialização música gastronomia forma campograndense. grandense.

Abstract Based on the history of immigration of the different ethnicities that contribute to the construction of identity in Campo Grande, MS, we find the contributions of the Paraguayan colony. With the aim of pointing out identity traits of Paraguayan culture on the Campo Grande culture and its relations with the Bioceanic Route, this research, of a bibliographic and documentary nature, also uses the Collective Subject Discourse (DSC) as an analysis technique applied to responses with the saturation method used to close the samples. The text addresses the contributions of Paraguayan culture to Campo Grande culture since the beginnings of the Morena city, and how the strategic position of Campo Grande in the implementation of the Bioceanicpio Route will more clearly bring the two cultures closer together, pointing out the possible socio-cultural impacts of this potential. Since the research demonstrated that Campo Grande culture converges at various times with Paraguayan culture, whether in music, dance, or gastronomy. In this way, Paraguayan culture can be considered as an identity trait in Campo Grande culture. MS colony nature DSC (DSC samples city together sociocultural socio cultural potential music dance gastronomy way

Resumen A partir de la historia de la inmigración de las distintas etnias que contribuyen a la construcción de la identidad de Campo Grande, MS, encontramos los aportes de la colonia paraguaya. Con el objetivo de señalar rasgos de identidad de la cultura paraguaya en la cultura de Campo Grande y sus relaciones con la Ruta Bioceánica, esta investigación, de carácter bibliográfico y documental, también utiliza el Discurso del Sujeto Colectivo (DSC) como técnica de análisis aplicada a las respuestas con el Método de saturación utilizado para cerrar las muestras. El texto aborda los aportes de la cultura paraguaya a la cultura de Campo Grande desde el comienzo de la ciudad de Morena, y cómo la posición estratégica de Campo Grande en la implementación de la Ruta Bioceánica acercará más claramente las dos culturas, señalando las posibles relaciones socio impactos culturales de este potencial. Ya que la investigación demostró que la cultura de Campo Grande converge en varios momentos con la cultura paraguaya, sea en la música, la danza o la gastronomía. De esta manera, la cultura paraguaya puede considerarse como un rasgo de identidad en la cultura de Campo Grande. MS documental DSC (DSC muestras Morena culturas potencial música gastronomía manera

Abstract: Traditional Chinese music had a long history, with rich and extensive aesthetic concepts. The integration of traditional music and aesthetic ideas has a significant impact on the formation of China’s traditional music system. This article explored the interactive influence of traditional music and aesthetic ideas, and elaborated on the musical ideas in traditional Chinese aesthetics. The content of musical aesthetic ideas of Confucianism, Taoism and Mohism was discussed, and the position of aesthetic ideas in traditional Chinese music was analyzed. By combing and analyzing the relevant literature, ancient books and historical materials, it is possible to understand the historical evolution and mutual influence of traditional music and aesthetic thought. Traditional aesthetic concepts not only played an important role in the development of Chinese music, but also played an undeniable role in promoting the development of Chinese music over thousands of years of history. This article aimed to explore the interaction between traditional music and aesthetic ideas, as well as the impact of traditional aesthetics on music, in order to promote the integration and development of traditional music and aesthetic ideas. In the evaluation of the interaction between traditional music and aesthetic thought, there may be a situation that the concept is too simplified. The relationship between traditional music and aesthetic thought is very complicated, involving many schools, historical periods and regions. It may not be able to fully cover all the influencing factors if it is only summarized by Confucianism, Taoism and Buddhism. It is suggested that the education and inheritance of traditional music and aesthetic ideas should be strengthened in music education. More traditional music artists and aesthetic theorists should be cultivated, so that they can pass on traditional music and aesthetic ideas to future generations and continue to develop and innovate in contemporary society. Abstract history Chinas China s system Confucianism discussed analyzed literature materials simplified complicated schools regions Buddhism cultivated society

Resumo: A música tradicional chinesa tem uma longa história, repleta de conceitos estéticos ricos e extensos. A integração da música tradicional e das ideias estéticas tem um impacto significativo na formação do sistema musical tradicional da China. Este artigo explora a influência interativa da música tradicional e das ideias estéticas, analisando as ideias musicais da estética tradicional chinesa, buscando promover a integração e o desenvolvimento da música tradicional e das ideias estéticas. Discute o conteúdo das ideias estéticas musicais do confucionismo, taoísmo e moísmo, bem como a posição das ideias estéticas na música tradicional chinesa. Ao combinar e analisar a literatura relevante, livros antigos e materiais históricos, é possível compreender a evolução histórica e a influência mútua da música tradicional e do pensamento estético. Os conceitos estéticos tradicionais não só desempenharam um papel importante no desenvolvimento da música chinesa, mas também na promoção do desenvolvimento da música chinesa, ao longo de milhares de anos de história. Na avaliação da interação entre a música tradicional e o pensamento estético, pode ocorrer uma situação em que o conceito seja demasiado simplificado. A relação entre a música tradicional e o pensamento estético é muito complicada, envolvendo muitas escolas, períodos históricos e regiões. Pode não ser capaz de cobrir totalmente todos os fatores de influência, se for resumido apenas pelo confucionismo, taoísmo e budismo. Sugere-se que a educação e a herança da música tradicional e das ideias estéticas sejam fortalecidas, na educação musical. Artistas musicais mais tradicionais e os teóricos da estética devem ser cultivados, a fim de poder transmitir a música tradicional e as ideias estéticas às gerações futuras e continuar a desenvolver-se e a inovar, na sociedade contemporânea. Resumo história extensos China confucionismo moísmo relevante simplificado complicada escolas regiões budismo Sugerese Sugere fortalecidas cultivados desenvolverse desenvolver inovar contemporânea

Singing is central in African life and among the many reasons provided is that traditionally it is believed that people who can sing have a very special connection with the spiritual world. Songs are celebratory and could convey the message of joy and happiness in context of freedom, culture, love, gospel, etc. and could convey joy and happiness that is unique and beautiful. However, the songs can equally be dangerous. Music has the potential and possibility to carry messages of oppression, suppression, exclusion, abuse, rape, crime, xenophobia, among others. In this article, the author uses the hymn in Hosanna Hymn Book titled 'Jehova Modimo wa Iseraele/Jehovah God of Israel' to argue that what seems to be innocent and neutral carried the message (by and through education) and acceptance of colonisation. The transmission and reception thereof become dangerous for the unsuspecting colonised. The article deals with the history of colonialism relating to 'Christian' literature or hymns that carry with them a systematic theology aimed at oppressing others. The author does a minimum exegesis to express the worldview and language and content of the Hymn. CONTRIBUTION: This study contributes to an ongoing liberation discourse and Hymn 11 is used as an example of oppressive language and negative transmission (through education).

Abstract: This article is divided in three parts in order to investigate on the authorial and creative philosophical production in the Brazilian academic environment. In the first part, we show the challenge to authorial production in philosophy in Brazil, starting from the example of recent initiatives in the philosophy of religion. In the second part, by means of an analogy with music, we intend to argue that the plead for a greater promotion of authorial philosophy in Brazil does not mean to devaluate the work with history of philosophy, which seems to be the predominant approach in academic philosophy in our country. The third part addresses the challenges to the formation of philosophical authorship, based on the triplet student-professor-knowledge, and acknowledging objective and subjective aspects of learning. Abstract environment religion music country authorship studentprofessorknowledge, studentprofessorknowledge student professor knowledge, knowledge student-professor-knowledge learning

Resumo: Este artigo se divide em três partes, a fim de investigar a produção filosófica acadêmica autoral e criativa, no Brasil. Na primeira parte, apresenta-se o desafio da produção autoral em filosofia, no Brasil, a partir do exemplo de iniciativas recentes em filosofia da religião. Na segunda parte, por meio de uma analogia com a música, pretende-se argumentar que a defesa de uma maior valorização da filosofia autoral, no Brasil, não significa desvalorizar o trabalho com história da filosofia, área que aparenta maior predominância na filosofia acadêmica, no país. A terceira parte aborda os desafios para a formação para a autoria filosófica, baseando-se na tríplice fórmula aluno-professor-conhecimento e reconhecendo os aspectos objetivos e subjetivos da aprendizagem. Resumo partes criativa Brasil apresentase apresenta religião música pretendese pretende país baseandose baseando alunoprofessorconhecimento aluno professor conhecimento aprendizagem

Abstract Our recent investigation into singer-songwriter «Palito» Ortega presented us with quite a few problems to solve. It is a career mainly as a composer and popular singer, and an especially successful career: Palito Ortega was and is the second best‒selling Argentine artist in the history of local music, only surpassed by Leo Dan, with 28 million records compared to 43 million of the latter. If we limit the comparison to his contemporaries, Palito is among the ten best-selling Latin American artists in the history of the continent. However, his work has never been studied: the most successful artist of so‒called modern Argentine music was never researched as such – that is, neither as an artist nor as successful. What can be said about Palito’s work? And consequently: where did the causes of its success lie? Our work sought to avoid elitist condemnation or scorn, as well as the exact opposite populist celebration. We want to show in this presentation some of the questions that we should have asked the materials —music, films, journalistic, documentaries— as well as some of the answers that we arrived at, the product of a disciplinary intersection that is verified, at the same time, in our intellectual biographies and in our professional practices.

Resumen Nuestra reciente investigación sobre el cantautor «Palito» Ortega nos presentó bastantes problemas a resolver. Se trata una carrera centralmente de compositor y cantante popular, y una carrera especialmente exitosa: Palito Ortega fue y es el segundo artista argentino más vendedor de la historia de la música local, solo superado por Leo Dan, con 28 millones de discos frente a los 43 millones de este último. Si limitamos la comparación a sus contemporáneos, Palito está entre los diez artistas latinoamericanos más vendedores de la historia del continente. Sin embargo, su obra nunca estudiada: el artista más exitoso de la llamada música moderna argentina jamás fue indagado en tanto tal —es decir, ni como artista ni como exitoso—. ¿Qué se puede decir de la obra de Palito? Y consecuentemente: ¿dónde radicaron las causas de su éxito? Nuestro trabajo pretendió eludir la condena o el menosprecio elitista, así como la exactamente inversa celebración populista. Queremos mostrar en esta presentación algunas de las preguntas que debimos hacer a los materiales —sonoros, fílmicos, periodísticos, documentales— así como algunas de las respuestas a las que arribamos, producto de una intersección disciplinar que se verifica, a la vez, en nuestras biografías intelectuales y en nuestras prácticas profesionales.

Abstract The question of the nature of the meaning in music has been the subject of debate since music became an academic research interest for disciplines like aesthetics, philosophy, history, semiotics, or sociology. The music-language comparison, music as an expression or communication of emotions and specific ideas, the ways in which it signifies, its capacity for intrinsic, extrinsic, autonomous, stable, contingent, social, historical, and/or political meaning are some of the theories that seek to unravel the ways in which music relates to its exterior. This dossier presents analysis and reflections on the tradition, circulation, and construction of a music scene to think about how music produces meaning, how a Latin American musical context is configured and how the Latin American musical archive participates in the global musical discourse. The dossier works on music as a cultural, historical and social production in relation with its context and with the cultural and affective associations that it produces.

Resumen La cuestión de la naturaleza del significado de la música ha sido tema de debate desde que la música devino interés de investigación académica para la estética, la filosofía, la historia, la semiótica, y la sociología, entre otras disciplinas. La comparación música‒lenguaje, la música como expresión o comunicación de emociones e ideas específicas, los modos en que significa, su capacidad de significado intrínseco, extrínseco, autónomo, estable, contingente, social, histórico, y/o político son algunas de las teorías que buscan desentrañar los modos en que la música se relaciona con su exterior. Este dossier presenta análisis y reflexiones sobre la tradición, la circulación, y la construcción de una escena musical para pensar cómo la música significa, cómo se configura un contexto musical latinoamericano y cómo el archivo musical latinoamericano dialoga con el discurso musical global. El dossier trabaja sobre la música como producción cultural, histórica y social a partir de la relación con su contexto y con las asociaciones culturales y afectivas que produce así como con los factores que la condicionan.

Abstract The article intends to examine the pardos and mulatto musicians of the end of the 18th and the first decades of the 19th century and inquire about the social positioning achieved from their long-standing practices in the development of European cathedral music. Family and professional ties are analyzed from the framework of Social History and the field of Afro-descendant Studies. It is concluded that the appropriation of Western European music by racialized individuals along with a series of social patterns, were contributing factors for the social mobility of a group of musicians of African origin in the first half of the 19th century in Chile.

Resumen El artículo se propone examinar los músicos pardos y mulatos de finales del siglo XVIII y las primeras décadas del siglo XIX e indagar sobre el posicionamiento social logrado a partir de sus prácticas de larga data en el desarrollo de la música europea catedralicia. Se analizan las vinculaciones familiares y profesionales desde el marco de la Historia Social y el campo de los Estudios Afrodescendientes. Se concluye que la apropiación de música occidental europea por parte de individuos racializados, junto a una serie de patrones sociales fueron factores coadyuvantes para la movilidad social de un grupo de músicos de origen africano en la primera mitad del siglo XIX en Chile.

Culture and heritage contribute to South Africa S competitiveness as a tourism destination. By focusing on South Africa's cultural diversity as a unique competitive factor, more tourists can be reached, thereby increasing the impact of South Africa's attraction as a tourist destination. However, cultural tourism is challenging to manage because cultural attractions vary in popularity and attract different types of tourists who want to experience culture differently. Although research has already been done in South Africa to promote cultural tourism, a gap in the literature still needs to be bridged. There is a particular gap in the literature on Afrikaner culture tourism. This study intended to determine which cultural elements attract tourists to Afrikaner cultural attractions. Cultural elements can be depicted and presented at a cultural attraction to give a better understanding of the culture in question. Cultural elements can be evaluated according to the importance of the element within the culture and what contribution the element makes to the cultural attraction. Cultural elements can be divided between tangible and non-tangible cultural elements. Tangible cultural elements can be moving or static but can be physically touched, such as, for example, monuments and clothing. Non-tangible cultural elements cannot be handled but transmit cultures, such as music and language. This study aimed to perform an empirical analysis to determine which cultural elements should be presented at an Afrikaner cultural attraction in South Africa. The empirical study consisted of an exploratory research design. It was executed by employing the qualitative method, involving 15 research participants who were followers of six Afrikaner cultural attractions on Facebook websites. A semi-structured interview schedule was used to put questions to the research participants. The interview schedule comprised mainly open-ended questions on demographic information, Afrikaner cultural elements and creative principles of tourism. The results were captured via voice recordings, transcribed into Word and categorised in themes and sub-themes according to Creswell's six data analysis steps. With regard to the demographic profile, most participants were men, with an average age of 44. A high level of education was evident in the respondents. It was clear from the results that the 15 participants visited Afrikaner cultural attractions many times, while 80% of the participants recently visited the Voortrekker Monument. Orania is the most popular Afrikaner cultural attraction for the participants. From participants' answers, the term "cultural elements" can be seen as shared cultural goods with which individuals within a culture can relate and give meaning to the culture because it is essential and unique. The study filled a gap by determining that tourists want to experience the following cultural elements at an Afrikaner cultural attraction: history, language, music and dance, food, traditional way of life, faith, monuments, traditions, traditional clothing, cultural festivals, handicrafts, artefacts and archaeological remains, cultural values, art, heroes, architecture and traditional houses. Furthermore, the researchers determined the five most important Afrikaner cultural elements: history, language, music and dance, food and the traditional way of life. Within the history-culture element, tourists want to learn about Afrikaner history, from the European heritage to today, the Great Trek and how Afrikaners stand together, and the wars and battlefields of Afrikaner history. The language-culture element's presentation must teach tourists about the origins of Afrikaans; specific Afrikaans words, and Afrikaans literature and drama. The Music and Dance cultural element of the Afrikaner culture must focus on folk plays and folk songs and present contemporary "sokkie" and Afrikaans music for tourists. During their experience of the Afrikaner food culture element, tourists want to learn about traditional foods and ways of food preparation, such as biltong, chutney, koeksisters, bobotie and barbecued meat. According to the participants, the traditional way of life of the Afrikaner must, for tourists, showcase the social and community life, such as storytelling and togetherness around meals, as well as the outdoor life, such as farming activities. The study's recommendations are aimed at marketers and managers of existing or prospective Afrikaner cultural attractions, academics, and the general public, focusing on Afrikaner cultural tourism. The study filled a gap by determining the most important Afrikaner cultural elements for tourists to experience at an Afrikaner cultural attraction. The literature contribution can also be valuable in practice because it is the first study to offer guidelines as to which Afrikaner cultural elements should be the focus of destination and attraction managers and marketers. The study also recommends that cultural attractions use technology to attract and retain a younger market. It is also essential that attractions make a more significant investment in the training of their staff, seeing that the successful presentation of especially the non-tangible elements is largely linked to the quality training of staff. The study also emphasises that combining cultural and food experiences can give an attraction a competitive advantage. Furthermore, the study's contribution does not have to be limited to Afrikaner culture because unique cultural elements also exist within every other cultural context.

Die doel van hierdie studie was om te bepaal watter kultuurelemente by 'n Afrikanerkultuur-besienswaardigheid in Suid-Afrika aangebied moet word. Die empiriese studie het 'n verkennende navorsingsontwerp gevolg en is uitgevoer deur die kwalitatiewe metode te volg, met 15 navorsingsdeelnemers. 'n Semi-gestruktureerde onderhoudskedule is gebruik om vrae aan die navorsingsdeelnemers te stel. Die onderhoudskedule het hoofsaaklik bestaan uit oop-einde vrae en het verband gehou met demografiese inligting, Afrikaner-kultuurelemente en kreatiewe beginsels van toerisme. Die resultate het getoon dat die navorsingsdeelnemers se belangrikste Afrikaner-kultuurelemente die volgende is: geskiedenis, taal, musiek en dans, kos en tradisionele leefwyse. Die aanbevelings van die studie is gemik op bemarkers en bestuurders van bestaande of voornemende Mrikanerkultuur-besienswaardighede, akademici en die algemene publiek, met 'n fokus op Afrikanerkultuurtoerisme.