Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time

Autores
Alabarces, Pablo Alejandro; Trotta, Felipe
Año de publicación
2017
Idioma
inglés
Tipo de recurso
artículo
Estado
versión publicada
Descripción
It is not difficult to see the enormous clout of aesthetic production associated with the “popular”, which increasingly enters the imaginaries shared extensively in several Latin American countries (and beyond). They are cultural practices that circulate on television channels, the internet, in parties and concerts of various sizes, implementing the idea of “popular” in some form. In this whirlwind of sights, sounds and stereotypes around the “popular world”, music is certainly one of the artefacts that most disseminates the “aesthetics of the periphery”. Artists such as Michel Teló, Aviões do Forró, Mr. Catra, Damas Grátis, Pibes Chorros, Don Omar and Calle 13 are linked to ways of saying, acting and thinking of the periphery (in its various social and territorial meanings), and circulate around the industry of world culture implementing sounds and thoughts that frequently collide with intellectualized aspects of life and discourse. In Latin America, some musical practices highlight heated debates about ethics and aesthetics, dealing with thoughts on the geographical and social hierarchy of our societies. This special issue, including its introduction, intends to present some of these discussions, focusing on three key categories in Latin American debates: popular, subalternity and periphery (in the complex meaning of social and territorial separation, but also in production from beyond the centre of the Western world: in the music scene, and also in academia).
Fil: Alabarces, Pablo Alejandro. Universidad de Buenos Aires. Facultad de Ciencias Sociales. Instituto de Investigaciones ; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina
Fil: Trotta, Felipe. Universidade Federal Fluminense; Brasil
Materia
Argentina
Brazil
Class
Subalternity
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by-nc-sa/2.5/ar/
Repositorio
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/41333

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spelling Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same TimeAlabarces, Pablo AlejandroTrotta, FelipeArgentinaBrazilClassSubalternityhttps://purl.org/becyt/ford/5.4https://purl.org/becyt/ford/5It is not difficult to see the enormous clout of aesthetic production associated with the “popular”, which increasingly enters the imaginaries shared extensively in several Latin American countries (and beyond). They are cultural practices that circulate on television channels, the internet, in parties and concerts of various sizes, implementing the idea of “popular” in some form. In this whirlwind of sights, sounds and stereotypes around the “popular world”, music is certainly one of the artefacts that most disseminates the “aesthetics of the periphery”. Artists such as Michel Teló, Aviões do Forró, Mr. Catra, Damas Grátis, Pibes Chorros, Don Omar and Calle 13 are linked to ways of saying, acting and thinking of the periphery (in its various social and territorial meanings), and circulate around the industry of world culture implementing sounds and thoughts that frequently collide with intellectualized aspects of life and discourse. In Latin America, some musical practices highlight heated debates about ethics and aesthetics, dealing with thoughts on the geographical and social hierarchy of our societies. This special issue, including its introduction, intends to present some of these discussions, focusing on three key categories in Latin American debates: popular, subalternity and periphery (in the complex meaning of social and territorial separation, but also in production from beyond the centre of the Western world: in the music scene, and also in academia).Fil: Alabarces, Pablo Alejandro. Universidad de Buenos Aires. Facultad de Ciencias Sociales. Instituto de Investigaciones ; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; ArgentinaFil: Trotta, Felipe. Universidade Federal Fluminense; BrasilEquinox Publishing2017-10info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/41333Alabarces, Pablo Alejandro; Trotta, Felipe; Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time; Equinox Publishing; Journal of World Popular Music; 4; 2; 10-2017; 142-1512052-49002052-4919CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/doi/10.1558/jwpm.33201info:eu-repo/semantics/altIdentifier/url/https://journals.equinoxpub.com/index.php/JWPM/article/view/33201info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-11-12T09:56:03Zoai:ri.conicet.gov.ar:11336/41333instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-11-12 09:56:03.327CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse
dc.title.none.fl_str_mv Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time
title Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time
spellingShingle Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time
Alabarces, Pablo Alejandro
Argentina
Brazil
Class
Subalternity
title_short Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time
title_full Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time
title_fullStr Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time
title_full_unstemmed Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time
title_sort Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time
dc.creator.none.fl_str_mv Alabarces, Pablo Alejandro
Trotta, Felipe
author Alabarces, Pablo Alejandro
author_facet Alabarces, Pablo Alejandro
Trotta, Felipe
author_role author
author2 Trotta, Felipe
author2_role author
dc.subject.none.fl_str_mv Argentina
Brazil
Class
Subalternity
topic Argentina
Brazil
Class
Subalternity
purl_subject.fl_str_mv https://purl.org/becyt/ford/5.4
https://purl.org/becyt/ford/5
dc.description.none.fl_txt_mv It is not difficult to see the enormous clout of aesthetic production associated with the “popular”, which increasingly enters the imaginaries shared extensively in several Latin American countries (and beyond). They are cultural practices that circulate on television channels, the internet, in parties and concerts of various sizes, implementing the idea of “popular” in some form. In this whirlwind of sights, sounds and stereotypes around the “popular world”, music is certainly one of the artefacts that most disseminates the “aesthetics of the periphery”. Artists such as Michel Teló, Aviões do Forró, Mr. Catra, Damas Grátis, Pibes Chorros, Don Omar and Calle 13 are linked to ways of saying, acting and thinking of the periphery (in its various social and territorial meanings), and circulate around the industry of world culture implementing sounds and thoughts that frequently collide with intellectualized aspects of life and discourse. In Latin America, some musical practices highlight heated debates about ethics and aesthetics, dealing with thoughts on the geographical and social hierarchy of our societies. This special issue, including its introduction, intends to present some of these discussions, focusing on three key categories in Latin American debates: popular, subalternity and periphery (in the complex meaning of social and territorial separation, but also in production from beyond the centre of the Western world: in the music scene, and also in academia).
Fil: Alabarces, Pablo Alejandro. Universidad de Buenos Aires. Facultad de Ciencias Sociales. Instituto de Investigaciones ; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina
Fil: Trotta, Felipe. Universidade Federal Fluminense; Brasil
description It is not difficult to see the enormous clout of aesthetic production associated with the “popular”, which increasingly enters the imaginaries shared extensively in several Latin American countries (and beyond). They are cultural practices that circulate on television channels, the internet, in parties and concerts of various sizes, implementing the idea of “popular” in some form. In this whirlwind of sights, sounds and stereotypes around the “popular world”, music is certainly one of the artefacts that most disseminates the “aesthetics of the periphery”. Artists such as Michel Teló, Aviões do Forró, Mr. Catra, Damas Grátis, Pibes Chorros, Don Omar and Calle 13 are linked to ways of saying, acting and thinking of the periphery (in its various social and territorial meanings), and circulate around the industry of world culture implementing sounds and thoughts that frequently collide with intellectualized aspects of life and discourse. In Latin America, some musical practices highlight heated debates about ethics and aesthetics, dealing with thoughts on the geographical and social hierarchy of our societies. This special issue, including its introduction, intends to present some of these discussions, focusing on three key categories in Latin American debates: popular, subalternity and periphery (in the complex meaning of social and territorial separation, but also in production from beyond the centre of the Western world: in the music scene, and also in academia).
publishDate 2017
dc.date.none.fl_str_mv 2017-10
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
http://purl.org/coar/resource_type/c_6501
info:ar-repo/semantics/articulo
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv http://hdl.handle.net/11336/41333
Alabarces, Pablo Alejandro; Trotta, Felipe; Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time; Equinox Publishing; Journal of World Popular Music; 4; 2; 10-2017; 142-151
2052-4900
2052-4919
CONICET Digital
CONICET
url http://hdl.handle.net/11336/41333
identifier_str_mv Alabarces, Pablo Alejandro; Trotta, Felipe; Introduction to the Special Issue: Music and Subalternity through the Popular and Periphery, or How to Use Popular Music for Several Debates at the same Time; Equinox Publishing; Journal of World Popular Music; 4; 2; 10-2017; 142-151
2052-4900
2052-4919
CONICET Digital
CONICET
dc.language.none.fl_str_mv eng
language eng
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dc.publisher.none.fl_str_mv Equinox Publishing
publisher.none.fl_str_mv Equinox Publishing
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