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Libro De Resúmenes Libro de resúmenes Contenido Simposio 1: Labores afectivas, trabajo de campo y colaboración en el estudio de las músicas populares latinoamericanas. .....................................................................................................15 Sesión I: De archivos, coleccionistas y fans ..........................................................................15 Mi Jaragual: masculinidades, precariedade y soberania en la salsa de Ismael “Maelo” Rivera ................................................................................................................................15 Capital cancional: ¿cómo surge uma cantautora? Reflexões sobre campo, habitus e capital a partir da pesquisa colaborativa com a sambista Conceição Rosa Teixeira .....................15 El archivo encarnado: coleccionistas, industria musical latinoamericana y etnografía colaborativa .......................................................................................................................16 Sesión II: Comunicación, música y ciudad .............................................................................18 “You better work”: o trabalho nos estudos de música no Brasil ..........................................18 “Músicas do mundo: etnomusicologia na Rádio da Universidade, AM 1080”: encontros interculturais através de repertórios e práticas musicais da América Latina e do mundo ...19 1 Sesión III: Música, músicos, trabajo de campo ......................................................................19 La poética andina de los cantos Muiscas: reflexiones desde el trabajo de campo colaborativo .......................................................................................................................19 Sonário Do Sertão: Experiências Sonoras No Sertão Nordestino ......................................20 La música regional wixárika en la ciudad: un puente de interacción entre el mundo wixárika y el mundo del teiwari ........................................................................................................20 A Broca E A Organização Dos Meios Possíveis.................................................................21 Sesión IV: Labores Afectivas .................................................................................................22 Trabajo de campo, re-apropiación creativa y eticización de la práctica investigativo-musical: una aproximación crítica ....................................................................................................22 Fidelidad barroca: un concepto acustemológico para el sindicalismo afectivo por venir .....23 Sesión V: Pedagogías Musicales ..........................................................................................25 Configuraciones culturales del canto del bullerengue: una mirada más allá de lo técnico vocal ..................................................................................................................................25 La experiencia de la afectividad como dispositivo disruptivo en la pedagogía instrumental25 Simposio 2: Trayectorias de la cumbia en América Latina: apropiación y resignificación de una cultura musical ..........................................................................................................................26 Sesión I: Construcción de identidades a través de la cumbia ................................................26 A presença da cumbia na construção de uma “Amazônia Caribenha”: aspectos da música popular em Belém do Pará (Brasil) ....................................................................................26 Primeros referentes de la cumbia colombiana en la Argentina: Efraín Orozco (1934) y Luis Eduardo “Lucho” Bermúdez (1946) en Buenos Aires. ........................................................27 “A esa cumbia le falta negro”: Identidad, etnia y clase en la nueva cumbia colombiana .....28 Sesión II: Etiquetas y repertorios de eso que suena a “cumbia”. Contextos de prácticas musicales y estrategias en los actores de la industria ...........................................................29 ¿“Cumbias” o “cumbias, porros y gaitas”? Análisis de las músicas que se han difundido bajo la etiqueta de “cumbias colombianas” ........................................................................29 Cumbia digital y world music: entre el exotismo y la subversión ........................................30 Sesión III: Grabación, archivo y análisis musical como herramientas para la comprensión del trasegar cumbiero en México, Perú, Bolivia y Chile ...............................................................31 La participación de la productora musical Gran Faraón (Bolivia) en la realización y recepción de cumbia en la ciudad de Arica (Chile) durante el 2018-2019. .........................31 Transcripción de canciones de la banda “Los Vikings 5”: una breve aproximación hacia el análisis musical de la cumbia chilena. ................................................................................31 El archivo de radio Cutivalú: un repositorio de música popular inédito en el norte del Perú y su papel en la formación de la cumbia sanjuanera .............................................................32 2 Simposio 3: Música Popular & Política .....................................................................................33 Sesión I: A música de negros e os negros na música ............................................................34 Hattie Carroll e as vozes que ecoaram seu nome: análise de enquadramento a partir das narrativas de Bob Dylan e do jornal The New York Times .................................................34 Resistência e afropolitanismo na cultura picotera ..............................................................35 Sesión II: Entre o nacional, o estrangeiro e o latino-americano .............................................36 Batalhas culturais: o jazz na mira do nacionalismo musical (Brasil, anos 1910-1960) ........36 Sesión III: Sobre ditaduras e sexualidades alternativas .........................................................37 “Yo prefiero el caos”: uma crônica del movimiento estudantil en la dictadura chilena, en la obra musical de Mauricio Rodolés .....................................................................................37 “Tá boa, santa?” Em cena os Dzi Croquettes: corpos, músicas e imagens do Brasil dos anos 1970 ..........................................................................................................................38 “Se me calam é porque de alguma forma minha voz assusta”: a potência política na performance musical e o cancelamento da participação da Lin da Quebrada na parada LGBTQI+ de João Pessoa/PB ...........................................................................................39 Sesión IV: A música popular no espaço público ....................................................................40 A Praia da Estação e novo carnaval de rua de Belo Horizonte: ocupação do espaço público e ensino informal de música como forma re resistência e luta política ...............................40 Venezuela: el sonido de la protesta ...................................................................................41 Musicistas do/no espaço público e seu papel na formação de cidadãos ............................42 Sesión V: A música como dispositivo para a ação política & outros acordes .........................43 El humor, la poesía y la danza como dispositivos para la acción política en la música carranguera en Colombia. ..................................................................................................43 Simposio 4: Música, mediatizaciones y performances. De los medios masivos a las plataformas digitales: el músico multitarea en la música popular latinoamericana contemporánea ..............44 Sesión I: Aproximaciones metodológicas ..............................................................................44 Música, mediatizaciones y performances. De los medios masivos a las plataformas digitales: el músico multitarea en la música popular latinoamericana contemporánea .......44 Músicos, memórias narradas e memória digital: relato do exercício da pesquisa em plataformas ........................................................................................................................45 O passado do trabalhador do futuro: multiatividades e trabalhos hiperflexíveis no cotidiano de instrumentistas baianos ................................................................................................45 El músico multitarea y el multi-instrumentista: posibilidades discursivas y performáticas, encuentros y desencuentros ..............................................................................................46 Sesión II: Plataformas: circulación, difusión ...........................................................................47 3 Música instrumental andina colombiana en busca de escenarios y plataformas de circulación. .........................................................................................................................47 Sesión III: Plataformas: modos de escucha ...........................................................................48 Diversidad y homogeneización en la circulación de música en línea..................................48 Entre playlists, espaços e embates: O uso de playlists recomendadas em espaços públicos e os conflitos cotidianos da escuta forçada. .......................................................................49 Qualquer música... pulando faixas... sem
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