Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

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.

The purpose of this paper is to analyze in certain tango lyrics by Celedonio Flores the uses of melodrama in the configurations of masculine pain and upward social mobility as central topics of this genre (Karush, 2013). We postulate as a hypothesis that, while from the kingdom of feelings basted in the mass-circulation serial (Sarlo, 2011) the woman was queen and captive, another sentimental empire is consolidated in the Buenos Aires tango circuit, in tango lyrics in general and in those of Flores in particular. We will analyze the imaginaries that unfold in his lyrics and the ways in which in tango, as a ritual, he invents and outlines an associated male figure, destined for the working class and endows passions with politicism, undoing the affective binomial between knowing and feeling (Macón, 2021), and shaping gender roles and relations between men and women.

This article reflects on Luis Alberto Spinetta’s oeuvre taking the insistent presence of the wind in his lyrics as a trigger. From the symbolic or metaphoric possibilities this presence suggests, the article puts forward the idea of a deliberate naïveté as a figure for the philosophical potential not only in Spinetta’s oeuvre but also more generally in the song as an artform. Based on a consideration of the lullaby as a possible song model, in opposition and contrast to the model of the protest song, the article concludes by suggesting deliberate naïveté as a space that Spinetta’s oeuvre builds and inhabits, which in turn opens the way to consider the concept of melodic reason as the particular mode in which songs in general, and Spinetta’s work in particular, acquire their particular (and paradoxical) dimension of thought.

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.

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.

This essay looks at Brazilian singer Gal Costa from three different «scenes»: tropicalism, the globalized music business of the seventies and her visits to Buenos Aires during the dictatorship. Focusing on the singer's voice, body, performance and costumes, we propose a political reading of her interventions, not as an active militancy but, rather, from apolitical categories such as sensuality or vocal interpretation. The essay ends with an analysis of the poem that Haroldo de Campos dedicated to Gal Costa in his book La educación de los cinco sentidos.

Versión escrita de una conferencia realizada en el marco del Proyecto Archives in Transition: Collective Memories and Subaltern Uses financiado por el European Union’s Horizon 2020 Program‒Marie Sklodowska Curie, Research and Innovation Staff Exchange (RISE).

Reseña del libro: ‘Experiencias participativas infantiles y juveniles. Perspectivas sobre procesos de democratización y gobernanza’ (Tirant lo blanch, 2022).Coordinadores: Gonzalo Pardo Beneyto y María Ángeles Abellán López.Título: Experiencias participativas infantiles y juveniles. Perspectivas sobre procesos de democratización y gobernanza. Lugar: València.Editorial: Tirant lo blanchColección: Tirant humanidadesAño: 2022Número de páginas: 270 Libro financiado con cargo al Proyecto de Investigación GV/2021/001 de la Generalitat Valenciana (Conselleria d’Innovació, Universitats, Ciència i Societat Digital). Autor de la reseña: Carles Hernández Coscollà - Aprentell - hcoscolla@gmail.comTítulo de la reseña: Participar es mucho más.Enviada el 24 de abril de 2023

Reflexión de Francesc J. Hernández, de la Universitat de València, sobre "aprender a aprender".