The Revista Argentina de Musicología –ISSN 1666-1060 (impreso) - ISSN 2618-3072 (en línea)– is the official journal of the Asociación Argentina de Musicología. This is an open access journal, which means that all content is freely available and at no cost to the user or their institution. Users may read, download, copy, distribute, print, search or link to the full texts of the articles, or use them for any other lawful purpose, without seeking prior authorization from the editor or author. This is in accordance with the BOAI definition of open access. The RAM began publication in 1996 in print and, in 2017, moved to the online platform using OJS to offer open and free access to all its content. It was mostly published annually, and since 2020, it has been published semi-annually. Since 2012, the RAM includes a thematic dossier whose participants are invited by the designated editor or coordinator. The RAM integrates the AAM Publications Portal.
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Editorial. 30th anniversary of the Revista Argentina de Musicología (1996–2026)
An editorial note briefly outlining the history and significance of the Revista Argentina de Musicología for the history of the institution that publishes it and for the discipline in the country.
Copyright (c) 2026 Fátima Graciela Musri https://creativecommons.org/licenses/by-nc/4.0
Imaginaries of resistance and utopia in Uruguayan graphic art during the dictatorship, 1969–1985
Graphic art was a key tool in the strategies of resistance groups both within and outside Uruguay during the civil-military dictatorship that the country endured between 1973 and 1985, and in the years immediately preceding it. In this paper, I examine the almanacs published by the Club de Grabado de Montevideo, an institution that played a significant role in cultural resistance, and posters from various sources. The latter corpus includes handcrafted pieces, particularly from the late 1960s and the early years of the dictatorial regime, as well as works by prominent professionals such as Blankito and Carlos Palleiro. I focus particularly on the posters preserved in the Alfredo Zitarrosa Archive. I identify the main iconographic themes in these materials, amongst which the guitar stands out as a musical motif and barbed wire as a general motif. I develop an analysis based on visual rhetoric: the presence of metaphors, synecdoches, allegories and their relationship with the ideology that accompanied these activities of resistance, denunciation and solidarity. Editorial History: Received: April 17, 2026 Accepted: June 29, 2026
Copyright (c) 2026 Marita Fornaro Bordolli https://creativecommons.org/licenses/by-nc/4.0
Copyright (c) 2026 Guillermo Dellmans, Omar García Brunelli https://creativecommons.org/licenses/by-nc/4.0
Old songs, new perspectives. Imagery in Latin American political songs
The broad and diffuse field of “political song” is often identified, in the Latin American context, with the equally vast concept of “nueva canción” (new song); however, the overlap between the two is only partial. Not all the works that comprise the Nueva Canción repertoire in Latin America have an explicitly political character, nor, conversely, does Nueva Canción encompass the entire spectrum of genres, traditions, and movements of politically charged song that traversed the subcontinent before, during, and after the great Nueva Canción era. The cases studied in this dossier span four decades, from the 1950s to the 1980s. The temporal distance that separates us from the phenomenon's heyday has translated, over the years, into a progressively more articulated and critical perspective, one that has moved beyond the predominantly testimonial character of the early literature. The topic now boasts an extensive and still-growing body of research, developed from diverse academic perspectives, aimed at illuminating previously scarcely explored geographical areas or thematic dimensions.
Copyright (c) 2026 Stefano Gavagnin, Javier Rodríguez Aedo https://creativecommons.org/licenses/by-nc/4.0
Contra-exilio: The Musical Poetics of Alberto Kurapel
This article aims to examine the poetics of contra-exilio in the work of performing artist Alberto Kurapel through an analysis of some of his essays and his discography from the 1980s, which includes the albums Contra-exilio (1982), Guerrilla (1986), and Confidencial urgent (1989). It is argued that his work undergoes a crucial shift with the emergence of the Compagnie des Arts Exilio and its conceptualization of performance theater. The analysis explores the dialogue between essay and music, and discusses key concepts in his work such as dislocation and in-between-place. It is argued that the poetics of contra-exilio crystallize in the discography through procedures of sonic friction and the expansion of vocality. Ultimately, the study examines how Kurapel’s musical work sheds light on unexplored aspects of his artistic practice and, more specifically, on his aesthetic thought. Editorial History: Received: April 7, 2026 Accepted: April 27, 2024
Copyright (c) 2026 LAURA FRANCISCA JORDAN GONZALEZ https://creativecommons.org/licenses/by-nc/4.0
Singing of the Land: Representations of Nature in Chilean Political Songs (1966–1973)
This article examines the imaginaries of nature in Chilean political songs produced between 1966 and 1973, with a particular focus on the Popular Unity period. Through an analysis of lyrics, recordings and paraphonographic elements, two coexisting environmental imaginaries are identified in the discography of the Chilean left: one productivist, rooted in classical Marxism, which conceived of nature as a reserve of resources at the service of the revolutionary project; and another that explored alternative ways of relating to the more-than-human world, based on interdependence, care and learning. Through imagery such as the earth, animals, plants and elements of the natural environment, these songs constructed a symbolic universe which, without being presented as a rupture, gradually blurred the boundaries between the human and the non-human. Editorial History: Received: March 30, 2026 Accepted: July 8, 2026
Copyright (c) 2026 Javier Rodríguez Aedo, Catalina Ponce Celedón https://creativecommons.org/licenses/by-nc/4.0
Reconfiguring the Nation through Song: Struggles over National Imaginaries in the Chilean Nueva Canción and the Argentine Nuevo Cancionero
This article examines, from a comparative perspective between Chile and Argentina, the crisis and reconfiguration of the national imaginaries articulated around folk-based song from the late 1950s to the early 1970s. It explores how certain paradigms became established as legitimate representations of the nation through selective processes that privileged particular territories and musical repertoires over others. Against these essentialist imaginaries, the article investigates the conditions that enabled the emergence of the Chilean Nueva Canción and the Argentine Nuevo Cancionero, two movements associated with the so-called political song. In Chile, the consolidation of the huaso imaginary as the dominant matrix of national identity was challenged by the Nueva Canción movement, which expanded the country's sonic landscape, gave visibility to subaltern social actors, and promoted a broader Latin American perspective. In Argentina, the decline of the criollista imaginary created space for the Nuevo Cancionero, which introduced new symbolic references and territorial imaginaries, although without fully establishing a cultural counter-hegemony. In both cases, the political song movements of the 1960s and 1970s became privileged sites for re-signifying tradition and reshaping national imaginaries, not by rejecting inherited cultural frameworks but by transforming their meanings. Editorial History: Received: March 24, 2026 Accepted: May 29, 2026
Copyright (c) 2026 Ariel Mamani https://creativecommons.org/licenses/by-nc/4.0
Sonata baja: El tango moderno de Eduardo Rovira
Editorial History: Received: February 18, 2025 Accepted: April 9, 2026
Copyright (c) 2026 Dra Ana Belén Disandro https://creativecommons.org/licenses/by-nc/4.0
Additional considerations for the introduction to the dosier “Music journalism in Latin America: cultural processes and interdisciplinarity”
Copyright (c) 2026 Maria Alice Volpe https://creativecommons.org/licenses/by-nc/4.0
A vinyl continent. Phonographic imaginaries of Latin America by the Italian label Vedette (1972–1978)
The Italian record industry of the 1970s, driven by the impact of the coup d’état in Chile in 1973, influenced the reshaping of Latin America’s image. Through its ‘phonographic diaspora’, the Nueva Canción Latinoamericana (New Latin American Song) and Andean music displaced the tropical stereotypes previously established by the American cultural industry, replacing them with an imaginary linked to social struggles and indigenous roots. This study focuses on the paraphonography (the set of iconography and texts accompanying the phonogram) of the Latin American discography published by Albatros and I dischi dello Zodiaco, both sub-labels of the Vedette publishing house. These labels not only distributed music by artists such as Inti-Illimani, Víctor Jara, Quilapayún, Pablo Milanés y Daniel Viglietti, among others, but also actively mediated culture, reinterpreting the original material and adapting it to the new context. The covers and paratexts functioned as pedagogical rather than commercial tools. In some cases, the aim was to extol the figure of the “committed singer”; in others, the visual design served to symbolise the social struggles of the continent. Furthermore, the inclusion ot ethnomusicological recordings in their catalogues reinforced the educational intention. Finally, this record production allowed Italian listeners to imagine a continent through a sound and visual map that combined artistic aesthetics with commitment. Editorial History: Received: January 23, 2026 Accepted: April 29, 2026
Copyright (c) 2026 Stefano Gavagnin https://creativecommons.org/licenses/by-nc/4.0
El saxofón en el Perú: inserción y desarrollo en las bandas militares peruanas a finales del siglo XIX e inicios del siglo XX
Editorial History: Received: December 29, 2025 Accepted: April 9, 2026
Copyright (c) 2026 Lucas R. Lillo https://creativecommons.org/licenses/by-nc/4.0
Musical Debate in the Magazine Cine Cubano: Vanguard and Reverberations of Post-Stalin Socialist Realism
This article offers a critical reassessment of the musical discourses that circulated in Cine Cubano, a journal conceived both as a mouthpiece for the work of the Cuban Institute of Cinematographic Art and Industry (ICAIC) and as a guide to Cuban cultural policy. Drawing on an analysis of articles published between the 1960s and 1970s, it examines the aesthetic tensions between musical avant-garde and rear-guard currents and their resonances in film composition. The discussion is situated within the context of the socialist thaw, cultural polemics, and the international experiences that influenced Cuban musicians—especially the Polish model and the Warsaw Autumn Festivals. The study explores how the composers addressed in these debates defended or challenged new techniques, and how these positions interacted with national identity and with conceptions of the relationship between music and the moving image. Cine Cubano functioned as an institutionalized discursive arena in which stances were negotiated and, at the same time, musical avant-garde expressions in Cuba were legitimized. Editorial History: Received: November 15, 2025 Accepted: January 8, 2026
Copyright (c) 2026 Dra. Ivette Céspedes Gómez https://creativecommons.org/licenses/by-nc/4.0
Nationalism versus Universalism in Roque Cordero's Musical Journalism
This article analyzes the journalistic work and aesthetic thought of Panamanian composer Roque Cordero (1917–2008). Through a historiographical review of his texts published between 1952 and 1978, it examines the relationship between nationalism and universalism in his musical discourse. Cordero used journalism as a critical platform to ponder on the role of art, education, and professionalism in Panamanian musical endeavor, proposing that Panamanian music should be capable of uniting national identity and universal projection. In articles such as “El folklore en la creación musical panameña” (1952) and “Contra el cutarrismo en nuestra música” (1978), he reveals his rejection on nationalism based on folkloric citations and his defense of an art based on technical authenticity and the creative transformation of folklore. In texts such as “Nacionalismo versus Dodecafonismo” (1959) y “El público y la música viva” (1975), Cordero argues that modern technique –including dodecaphonism– is not contrary to the national spirit, but rather a means of expressing Latin American sensibility with rigor and contemporaneity. His musical journalism presents one of the great Latin American modernist dilemmas of the epoch: the search for a synthesis between national authenticity, technical discipline, and aesthetic universality. Editorial History Received: November 7, 2025 Accepted: December 18, 2025
Copyright (c) 2026 David Ernesto Vergara Murillo https://creativecommons.org/licenses/by-nc/4.0
Between Europe and the Southern Cone: The Internationales Musikinstitut Darmstadt and Argentine Musical Institutions (1950–1970)
This article explores the multifaceted relationships between the Internationales Musikinstitut Darmstadt (IMD) and various Argentine musical institutions from the 1950s to the 1970s. Through an in-depth analysis of epistolary exchanges, archival documents, and institutional networks, it reconstructs circuits of cultural mediation involving the dissemination of repertoire, pedagogical materials, and publications, as well as the circulation of performers, composers, and collectors. Case studies such as José Habschied in Mendoza, Mario J. A. Galvani in Buenos Aires, the National University of Córdoba, and the Jornadas Americanas de Música Experimental demonstrate how Darmstadt’s symbolic authority was transformed into cultural, pedagogical, and performative capital in the Southern Cone. The article also examines cultural diplomacy, editorial transfer, and audience-building dynamics that positioned Argentina as an active node within the transnational networks of new music. Editorial History: Received: October 24, 2025 Accepted: May 27, 2026
Copyright (c) 2026 Dr. Joevan de Mattos Caitano https://creativecommons.org/licenses/by-nc/4.0
Introduction to the Dossier “Music and periodical press in Latin America: Cultural Processes and Interdisciplinarity”
Copyright (c) 2025 Maria Alice Volpe https://creativecommons.org/licenses/by-nc/4.0
Copyright (c) 2025 Dra. Fátima Graciela Musri https://creativecommons.org/licenses/by-nc/4.0
La gaita rabiosa: nacimiento y consolidación del cuarteto como género de música popular y cordobesa
Editorial History: Received: August 19, 2025 Accepted: December 30, 2025
Copyright (c) 2026 Juan Martín Salandro https://creativecommons.org/licenses/by-nc/4.0
De la música al sonido. La emergencia del sonido en la música de los siglos XX y XXI
Editorial History: Received: August 12, 2025 Accepted: December 30, 2025
Copyright (c) 2026 Francisco César Eduardo Taborda https://creativecommons.org/licenses/by-nc/4.0
Rollos de tango. La era de las pianolas en Argentina y las interpretaciones de Agustín Bardi para autopianos
Copyright (c) 2025 Carolina Ovejero https://creativecommons.org/licenses/by-nc/4.0
Creative Induction in Music: Systematic Evaluation of Musical Creation Techniques in Collaborative Improvisations
This study evaluates the induction of Musical Creation Techniques (Técnicas de Creación Musical, TCM) in improvisation and collective creation groups, through the identification of characteristics in the musical creations recorded in audio and the aspects of their production. TCM are a set of strategies that apply concepts of structural optimization, timing, and perceptual balance, designed for the coordination of musicians in an improvisation or collaboration, favoring the collective musical arrangement based on individual resources. Between 2006 and 2018, TCM were implemented in workshops and public performances involving 400 participants, from amateurs to professionals, in urban and community settings. As evidence, 1,142 musical creations recorded in audio were produced, which were classified and analyzed based on their achievement of structural coherence. To evaluate creative production, criteria used in computational creativity are incorporated here, including the SPECS procedure, linguistic evaluation, and other contributions related to creative production. The findings confirm that TCMs promote structured improvisation, allowing both novice and experienced musicians to create appealing musical pieces on the spot. This analysis provides evidence regarding the optimized structures proposed in theory, which foster group musical creativity through cooperation tactics. Editorial History: Received: April 12, 2025 Accepted: November 1, 2025
Copyright (c) 2026 Ryan Lynus Revoredo Chocano https://creativecommons.org/licenses/by-nc/4.0
Paul Walter Jacob among the foundational pillars of the musical Resistance from occupied Paris (1940-1944)
This article examines the figure of Paul Walter Jacob as a forerunner of musical resistance against totalitarianism, drawing on the concept of the activist committed to artistic freedom during the wartime period. During his stay in Paris (1933-1934), Jacob recognized the dangers that the National Socialist regime posed to the free use of music, and argued for the need to protect it as a means of safeguarding society from totalitarian manipulation and control. These ideas anticipate and converge with the combative spirit of Charles Delaunay who, within the context of the parallel and opposing development of National Socialism and jazz culture among European youth, foresaw and evaded the restrictive measures of Nazi musical policy against so-called "degenerate" creations. At the helm of the Hot Club de France during the Occupation, Delaunay shrewdly upheld French and European identity, grounded in fraternity, freedom, and equality. Building on this convergence, the study invites reflection on musical resistance through jazz as a legitimate form of expression and social engagement, bringing into dialogue the trajectories of Jacob and Delaunay between 1933 and 1944. Editorial History: Received: April 1, 2025 Accepted: July 8, 2026
Copyright (c) 2026 Pilar Valvanera Pérez Rodríguez https://creativecommons.org/licenses/by-nc/4.0
Georges Aperghis: the Theatricality of the Musical Gesture and the Musicality of Staging
This study aims to analyze certain aspects of Georges Aperghis’ work to provide an insight into his approach, aesthetics, and compositional technique. Through this investigation, we explore whether Aperghis’ music can be conceived or defined beyond the inseparable relationship between the performer and the composer in the creative process. From this perspective, the study examines key aspects of two of his works: Les Guetteurs de sons (1980) and Récitations (1978). Although these pieces are not the most representative of his catalog, their selection in this study underscores the idea that theatricality lies at the very core of his artistic approach, not merely in the more overtly theatrical aspects of his work. Editorial History Received: March 31, 2025 Accepted: October 20, 2025
Copyright (c) 2026 Jeremías Iturra Astudillo https://creativecommons.org/licenses/by-nc/4.0
Politics to the Rhythm of the Peñas: The Articulation of a Youth Political Identity in Rosario's Folk Music Gatherings (1959-1976)
This article is the result of research that explored the infinite relationship between politics and music. Its objective is to elucidate and analyze the ways in which a youthful political identity was articulated within the spaces of popular folk music in Rosario during the period from 1959 to 1976. The central hypothesis of this study is that, within the framework of the Rosario folk music gatherings (peñas), studied as a ritual, a particular youthful political subjectivity was articulated. This subjectivity was constructed through the overlapping of three dimensions that shape political identity: otherness, representation, and an approach to tradition. The methodology employed is qualitative, including work with secondary sources, specialized literature, popular folk songs, and open-ended interviews with relevant actors, particularly those who attended and participated in folk music gatherings during the period in question.
Copyright (c) 2025 Mauro Dlugovitzky https://creativecommons.org/licenses/by-nc/4.0
Copyright (c) 2024 Fátima Graciela Musri https://creativecommons.org/licenses/by-nc/4.0
Semiotics of Music and Problems of Musical Meaning. Introduction to the dossier
Introducción al dosier "Semiótica de la Música y problemáticas de la significación musical", Vol. 25, Nro. 2, Diciembre de 2024.
Copyright (c) 2024 Federico Buján https://creativecommons.org/licenses/by-nc/4.0
The bats’i as a supposed semiotic: intersubjective creations in Chiapas indigenous rock
Some indigenous communities in Latin America have presented new musical creations based on popular genres such as rock and hip-hop. The case of rock in the Tsotsil language or bats'i rock (true rock) is particularly significant because it incorporates cultural elements such as the language, clothing, musical instruments, etc., as well as others from the global rock culture such as the song format and participation in music festivals. However, more than showing reminiscences of the traditional in the rock they produce, I am interested above all in evidencing the processes of intersubjective meaning that configure this youth music scene. This article seeks to demonstrate that the notion of “bats’i”, as a central category in the process of semiosis, evidences a new platform of enunciation in different contexts thanks to the creation of a new semiotic text materialized as bats’i rock.
Copyright (c) 2024 José Humberto Sánchez Garza https://creativecommons.org/licenses/by-nc/4.0
The double project of Folklore magazine in its beginnings (1961-1965).
The 1960s in Argentina were marked by the so-called folklore boom, a phenomenon of great relevance that promoted the massive commercialisation of popular music with folkloric roots. This process would not have been possible without the support of the cultural industries, especially the publishing market. In this context, the magazine Folklore, founded in 1961, became the main dissemination space for artists, festivals and peñas all over the country. The appearance of this magazine responded to a demand from the reading public, which was looking for both informative and educational content. This need was the driving force that led the editorial management to create the Conciencia Folklórica section, aimed at disseminating scholarly contents in each issue. This paper analyses this section with the aim of identifying the intentions of the editorial management at the time of publishing the magazine. We argue that there was a double project: a constant feedback between the economic interests of the financier and the proposals of the intellectuals, who sought to consolidate certain theoretical lines without losing sight of the economic benefits derived from this alliance.
Copyright (c) 2025 Maria Julia Carrazana https://creativecommons.org/licenses/by-nc/4.0
“El Maestro y la Diva”: women jazz musicians who subvert the jazz canon in Bogotá
Although the Bogotá jazz canon has been cited as one of the styles that has most successfully broken down class, race, and gender stereotypes, as in other musical scenes, it continues to reproduce models and stereotypes that accentuate the historical violence inflicted on women in the musical sphere in Western societies. The Diva and the Maestro emerge as archetypal images of the exclusionary precepts with which this musical genre has been canonized in Bogotá. Based on qualitative analyses, this article explores the challenges and struggles currently faced by women within this musical context and the impacts that the canonization of jazz has had on them in terms of inequality and exclusion.
Copyright (c) 2025 Daniela González Ramos, Ana Lucía Hurtado Ocampo https://creativecommons.org/licenses/by-nc/4.0
Discourses of Women Music Critics and Modern Brazil: Apology for Classical Music
This article analyzes and contrasts the discourses —during the first half of the 20th century— of the Brazilian music critics Lúcia Branco, Beatriz Leal Guimarães, Ondina Portella Ribeiro Dantas, and Magdala da Gama Oliveira regarding classical music repertoires and performers, both foreign and local, as well as male and female. Furthermore, it highlights the elitist judgments and the denigration of samba, coinciding with the period of its nationalization and export. Advocates of written tradition music, these women engaged in debates over who embodied the Brazilian identity. For these music critics from the Carioca aristocracy, the Brazilian identity had to be purified by eliminating African traces. The struggle between the learned and the popular —the harmless versus the harmful— is also evidence of the racism and classism propagated by the media, and also by women. Keywords: female music criticism, Brazilian music criticism, classical music, popular music, samba.
Copyright (c) 2025 Nayive Ananías https://creativecommons.org/licenses/by-nc/4.0