Vol. 10 No. 1 (2020): Music as decolonial practice

Vol. 10 No. 1 (2020)

Published August 18, 2020
Music as decolonial practice
Uma foto de pés descalços com adornos de conchas nos tornozelos em meio a areia, com a marca da revista exibida na parte inferior central da imagem.

Apresentação

1-8
Editorial
https://doi.org/10.20396/proa.v10i1.16545
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.16545

Dossiê

Ramón Del Pino, João Casimiro Kahil Cohon, Leonardo Pellegrim Sanchez
9-17
Dossier introduction: music as decolonial practice
https://doi.org/10.20396/proa.v10i1.16546
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.16546
Carolina Gonçalves Alves
18-36
“Ô abre alas que eu quero passar”: breaking the silence about Chiquinha Gonzaga's blackness
https://doi.org/10.20396/proa.v10i1.17604
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17604
Mateus Hayasaka
37-50
A glimpse of Japanese music at the 1900 Universal Exposition
https://doi.org/10.20396/proa.v10i1.17605
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17605
Yuri Pinto Ferreira
51-71
What was considered, in the 1950s, "Ghanaian" music?
https://doi.org/10.20396/proa.v10i1.17606
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17606
José Calixto Kahil Cohon
72-85
Mbaraka: the Guarani Mbya caipira guitar
https://doi.org/10.20396/proa.v10i1.17607
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17607
Gabriela Shimabuko
86-100
Asadoya Yunta: from resistance to love for the colonizer
https://doi.org/10.20396/proa.v10i1.17608
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17608
Marcello Messina, Carlos Mario Gómez Mejía, Leonardo Vieira Feichas, Carlos Eduardo da Silva, Arthur José de Souza Martins
101-121
Experimental music, extended techniques and creative practices as decolonial tools: an account of various twists and turns
https://doi.org/10.20396/proa.v10i1.17609
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17609
Clarissa Lotufo de Souza, Liz Leticia Martinez Ramirez, Juliane Cristina Larsen
122-152
The presence of coloniality in the constitution of curricula of undergraduate music courses in higher education institutions in Latin America and the Caribbean
https://doi.org/10.20396/proa.v10i1.17610
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17610
Luis Ricardo Silva Queiroz
153-199
Until when Brazil? decolonial perspectives to (re)think higher education in music
https://doi.org/10.20396/proa.v10i1.17611
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17611
Alexandre Herbetta
200-220
More musical resumes: considerations on transformations in indigenous, school and university curricular matrixes
https://doi.org/10.20396/proa.v10i1.17612
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17612
Luiza Gaspar Anastácio
221-238
Modernity, coloniality and tradition: a reflection on the standard concert repertoire in violin study and practice
https://doi.org/10.20396/proa.v10i1.17613
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17613

Entrevista

João Casimiro Kahil Cohon; Frank Colon
239-249
Interview with the drummer and percussionist Dom Um Romão
https://doi.org/10.20396/proa.v10i1.17614
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17614

Tradução

Zoe Sherinian; Eduardo Falcão
250-285
Activist Ethnomusicology and Marginalized South Asian Music
https://doi.org/10.20396/proa.v10i1.17615
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17615

Debate

Ramon Del Pino
286-309
Reflections and possibilities for an aesthetic autonomy of Brazilian improvisation.
https://doi.org/10.20396/proa.v10i1.17616
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17616

Galeria

Tieta Macau
310-332
ANCÉS and other macumbarias: visual poetics of insurgent tracks
https://doi.org/10.20396/proa.v10i1.17617
PDF (Português (Brasil))
DOI: https://doi.org/10.20396/proa.v10i1.17617