<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0186-0348</journal-id>
<journal-title><![CDATA[Secuencia]]></journal-title>
<abbrev-journal-title><![CDATA[Secuencia]]></abbrev-journal-title>
<issn>0186-0348</issn>
<publisher>
<publisher-name><![CDATA[Instituto de Investigaciones Dr. José María Luis Mora]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0186-03482020000300204</article-id>
<article-id pub-id-type="doi">10.18234/secuencia.v0i108.1834</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[&#8220;Como se le habla a un hermano&#8221;: la solidaridad hacia Cuba y Vietnam en la Nueva Canción Chilena (1967-1973)]]></article-title>
<article-title xml:lang="en"><![CDATA[&#8220;As you Speak to a Brother&#8221;: Solidarity towards Cuba and Vietnam in the Chilean New Song (1967-1973)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[Eileen]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Schmiedecke]]></surname>
<given-names><![CDATA[Natália Ayo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,University of Glasgow  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>United Kingdom</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidad Estatal de Campinas  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<numero>108</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S0186-03482020000300204&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S0186-03482020000300204&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S0186-03482020000300204&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: La Nueva Canción Chilena (NCCh) contribuyó a expresar la solidaridad de la izquierda chilena hacia las revoluciones cubana y vietnamita antes y durante la Unidad Popular (1970-1973). Por la particularidad del caso chileno y su &#8220;vía pacífica&#8221; al socialismo, el apoyo a estas luchas revolucionarias no estuvo exento de conflictos. Aquí analizamos cómo estos artistas expresaron su solidaridad hacia ambas revoluciones y cómo sortearon o profundizaron dichos conflictos. Presentamos dos hallazgos principales. El primero destaca la relevancia de la NCCh en la denuncia del imperialismo estadunidense y como expresión de solidaridad Sur-Sur. El segundo documenta el uso de géneros, instrumentos e intertextualidad para apoyar a dichos pueblos y validar la &#8220;vía chilena&#8221;. El análisis de este repertorio bajo las nociones de solidaridad Sur-Sur es novedoso, puesto que permite develar las estrategias usadas tanto para expresar solidaridad como para insertar la &#8220;vía chilena&#8221; en el contexto de la guerra fría.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: The Chilean New Song contributed to express solidarity with the Cuban and Vietnamese revolutions before and during the Popular Unity government (1970-1973). Due to the particularity of the Chilean case and its &#8220;peaceful way to socialism&#8221;, this support was not without controversy. This article analyzes how New Song artists expressed their solidarity to both revolutions and how they either bypassed or deepened such conflicts. We present two findings. The first highlights the relevance of Chilean New Song in denouncing the American imperialism while showing solidarity with others. The second sheds light on the use of genres, instruments and intertextuality to support Cuba and Vietnam but also to validate the &#8220;Chilean way&#8221;. Analyzing this repertoire through the notion of South-South solidarity is innovative since it unveils the strategies that musicians used to express their solidarity while integrating the &#8220;Chilean way&#8221; in the international context of the cold war.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Nueva Canción Chilena]]></kwd>
<kwd lng="es"><![CDATA[Unidad Popular]]></kwd>
<kwd lng="es"><![CDATA[solidaridad Sur-Sur]]></kwd>
<kwd lng="es"><![CDATA[Cuba]]></kwd>
<kwd lng="es"><![CDATA[Vietnam]]></kwd>
<kwd lng="en"><![CDATA[Chilean New Song]]></kwd>
<kwd lng="en"><![CDATA[Popular Unity]]></kwd>
<kwd lng="en"><![CDATA[South-South solidarity]]></kwd>
<kwd lng="en"><![CDATA[Cuba]]></kwd>
<kwd lng="en"><![CDATA[Vietnam]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ardito]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Mardones]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Vargas]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[¡Hagan un trencito! Siguiendo los pasos de la memoria cumbianchera en Chile (1949-1989)]]></source>
<year>2016</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Ceibo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Black]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8220;Canto Libre&#8221;: Folk music and solidarity in the Americas]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Stiles Mor]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Suescun Pozas]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[The art of solidarity: visual and performative politics in cold war Latin America]]></source>
<year>2018</year>
<page-range>117-45</page-range><publisher-loc><![CDATA[Austin ]]></publisher-loc>
<publisher-name><![CDATA[University of Texas Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Calvo]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La Organización Latinoamericana de Solidaridad (Olas) a través del boletín de información de su comité organizador (1966-1967)]]></article-title>
<source><![CDATA[Revista de Historia Social y de las Mentalidades]]></source>
<year>2018</year>
<volume>22</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>155-85</page-range></nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Carrasco]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[Quilapayún: la revolución y las estrellas]]></source>
<year>2003</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[ril]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Casals]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[El alba de una revolución. La izquierda y el proceso de construcción estratégica de la &#8220;vía chilena al socialismo&#8221; 1956-1970]]></source>
<year>2010</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[lom]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Castro]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Discurso pronunciado por el comandante Fidel Castro Ruz, primer secretario del Comité Central del Partido Comunista de Cuba y primer ministro del Gobierno Revolucionario]]></source>
<year>1966</year>
<conf-name><![CDATA[ Primera Conferencia de Solidaridad de los Pueblos de Asia, África y América Latina (Tricontinental)]]></conf-name>
<conf-date>15 de enero de 1966</conf-date>
<conf-loc>La Habana </conf-loc>
<publisher-loc><![CDATA[La Habana ]]></publisher-loc>
<publisher-name><![CDATA[Departamento de Versiones Taquigráficas del Gobierno Revolucionario]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chartier]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[À beira da falésia: a História entre certeza e inquietude]]></source>
<year>2002</year>
<publisher-loc><![CDATA[Porto Alegre ]]></publisher-loc>
<publisher-name><![CDATA[Ed. ufrgs]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chaskel]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
<name>
<surname><![CDATA[Ríos]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[Venceremos]]></source>
<year>1970</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Cine Experimental de la Universidad de Chile]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<collab>Cuba-Chile</collab>
<source><![CDATA[Encuentro simbólico de dos procesos históricos]]></source>
<year>1972</year>
<publisher-loc><![CDATA[La Habana ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones Políticas. Comisión de Orientación Revolucionaria del Comité Central del Partido Comunista de Cuba]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Farías]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Cueca Beat: Diálogos entre el Rock y la Nueva Canción Chilena]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Farías]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Palimpsestos sonoros. Reflexiones sobre la Nueva Canción Chilena]]></source>
<year>2014</year>
<page-range>139-61</page-range><publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Ceibo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Farías]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[The politics of film music in Chile (1939-1973)]]></source>
<year>2019</year>
<publisher-loc><![CDATA[Escocia ]]></publisher-loc>
<publisher-name><![CDATA[University of Edinburgh]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Featherstone]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Solidarity: Hidden histories and geographies of internationalism]]></source>
<year>2012</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Zed Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Flores]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[Descomedidos y chascones]]></source>
<year>1973</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Cine Experimental de la Universidad de Chile]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gomes]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[&#8220;Quando um muro separa, uma ponte une&#8221;: Conexões transnacionais na canção engajada na América Latina (anos 1960/70)]]></source>
<year>2015</year>
<publisher-loc><![CDATA[São Paulo ]]></publisher-loc>
<publisher-name><![CDATA[Alameda]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gomes]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[&#8220;Cada verso é uma semente no deserto do meu peito&#8221;: exílio, resistência e conexões transnacionais na canção engajada latino-americana (anos 1970)]]></source>
<year>2018</year>
<publisher-loc><![CDATA[Brasil ]]></publisher-loc>
<publisher-name><![CDATA[Universidade de São Paulo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B16">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gómez]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Un bruit lointain? Les musiciens chiliens face à la Guerre du Vietnam (1965-1975)]]></article-title>
<source><![CDATA[Transposition]]></source>
<year>2014</year>
<numero>4</numero>
<issue>4</issue>
</nlm-citation>
</ref>
<ref id="B17">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Gómez]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
<name>
<surname><![CDATA[Rodríguez]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8220;Entre la hoz y el martillo&#8221;: vínculos entre música culta, folklore y política en Chile durante la Guerra Fría (1947-1973)]]></article-title>
<source><![CDATA[Amérique Latine Histoire et Mémoire. Les Cahiers ALHIM]]></source>
<year>2018</year>
<numero>35</numero>
<issue>35</issue>
</nlm-citation>
</ref>
<ref id="B18">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guerrero]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La cantata: el cruce entre lo culto y lo popular]]></article-title>
<source><![CDATA[Revista Musical Chilena]]></source>
<year>2013</year>
<volume>222</volume>
<numero>67</numero>
<issue>67</issue>
<page-range>94-106</page-range></nlm-citation>
</ref>
<ref id="B19">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Guimarães]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[A passeata contra a guitarra e a &#8220;autêntica&#8221; música brasileira]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Rodrigues]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Luca]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
<name>
<surname><![CDATA[Guimarães]]></surname>
<given-names><![CDATA[V.]]></given-names>
</name>
</person-group>
<source><![CDATA[Identidades brasileiras: composições e recomposições]]></source>
<year>2014</year>
<page-range>145-73</page-range><publisher-loc><![CDATA[São Paulo ]]></publisher-loc>
<publisher-name><![CDATA[Editora unesp]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B20">
<nlm-citation citation-type="book">
<collab>Independent Commission on International Development Issues</collab>
<source><![CDATA[North-South: A Programme for Survival. The Report of the Independent Commission on International Development Issues under the Chairmanship of Willy Brandt]]></source>
<year>1980</year>
<publisher-loc><![CDATA[Londres ]]></publisher-loc>
<publisher-name><![CDATA[Pan]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B21">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jara]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Víctor, un canto inconcluso]]></source>
<year>2007</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[lom]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B22">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jordán]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Cantando al mir y al Frente: Cita y versio&#769;n en dos canciones militantes de Patricio Manns]]></source>
<year>2010</year>
<conf-name><![CDATA[ IX Congreso de la IASPM-AL]]></conf-name>
<conf-loc>Caracas, Venezuela </conf-loc>
</nlm-citation>
</ref>
<ref id="B23">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<source><![CDATA[&#8220;Ecos de un tiempo distante&#8221;: La Cantata Popular Santa María de Iquique (Luis Advis-Quilapayún) y sus resignificaciones sociales a 40 años de su estreno]]></source>
<year>2012</year>
<publisher-loc><![CDATA[Chile ]]></publisher-loc>
<publisher-name><![CDATA[Universidad de Chile]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B24">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La Cantata Popular Santa María de Iquique: representaciones del obrero pampino y del hombre nuevo]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Farías]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Palimpsestos sonoros. Reflexiones sobre la Nueva Canción Chilena]]></source>
<year>2014</year>
<page-range>99-116</page-range><publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Ceibo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B25">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[&#8220;Remembrance is not Enough...&#8221; Cantata Popular Santa María de Iquique 40 years after its release]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Vila]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[The militant song movement in Latin America: Chile, Uruguay, and Argentina]]></source>
<year>2014</year>
<page-range>54-68</page-range><publisher-loc><![CDATA[Lanham ]]></publisher-loc>
<publisher-name><![CDATA[Lexington Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B26">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Vargas]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Mardones]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
<name>
<surname><![CDATA[Ardito]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El trencito rebelde: sobre cómo la cumbia se tomó las calles e hizo bailar a los serios intelectuales de la Unidad Popular]]></article-title>
<source><![CDATA[Revista Retrospectiva de la Corporación Chilena de Estudios Históricos]]></source>
<year>2013</year>
<numero>1</numero>
<issue>1</issue>
<page-range>57-75</page-range></nlm-citation>
</ref>
<ref id="B27">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Larrea]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<source><![CDATA[33 1/3 RPM: la historia gráfica de 99 carátulas 1968-1973]]></source>
<year>2008</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Nunatak]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B28">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[López Cano]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Más allá de la intertextualidad. Tópicos musicales, esquemas narrativos, ironía y cinismo en la hibridación musical de la era global]]></article-title>
<source><![CDATA[Nassarre: Revista Aragonesa de Musicología]]></source>
<year>2005</year>
<volume>1</volume>
<numero>21</numero>
<issue>21</issue>
<page-range>42-63</page-range></nlm-citation>
</ref>
<ref id="B29">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[López Cano]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Lo original de la versión. De la ontología a la pragmática de la versión en la música popular urbana]]></article-title>
<source><![CDATA[Consensus]]></source>
<year>2011</year>
<volume>16</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>57-82</page-range></nlm-citation>
</ref>
<ref id="B30">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mahler]]></surname>
<given-names><![CDATA[A. G.]]></given-names>
</name>
</person-group>
<source><![CDATA[From the Tricontinental to the global South. Race, radicalism, and transnational solidarity]]></source>
<year>2018</year>
<publisher-loc><![CDATA[Durham ]]></publisher-loc>
<publisher-name><![CDATA[Duke University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B31">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Mamani]]></surname>
<given-names><![CDATA[A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Historia reciente, pasados lejanos. Disputas y resemantizaciones en torno a la masacre Santa María de Iquique]]></article-title>
<source><![CDATA[Trashumante]]></source>
<year>2014</year>
<numero>3</numero>
<issue>3</issue>
<page-range>96-114</page-range></nlm-citation>
</ref>
<ref id="B32">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Marshall]]></surname>
<given-names><![CDATA[L.]]></given-names>
</name>
</person-group>
<source><![CDATA[Bob Dylan: The never ending star]]></source>
<year>2007</year>
<publisher-loc><![CDATA[Cambridge ]]></publisher-loc>
<publisher-name><![CDATA[Polity]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B33">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Muhr]]></surname>
<given-names><![CDATA[T.]]></given-names>
</name>
<name>
<surname><![CDATA[Azevedo]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Relações Sul-Sul em Educação: o programa ¡Yo, Sí Puedo! e a cooperação em educação do brics em foco]]></article-title>
<source><![CDATA[Revista Ibero-Americana de Estudos em Educação]]></source>
<year>2019</year>
<volume>14</volume>
<numero>1</numero>
<issue>1</issue>
<page-range>2-30</page-range></nlm-citation>
</ref>
<ref id="B34">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ossorio]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Encuentro de la canción protesta]]></article-title>
<source><![CDATA[Casa de las Américas]]></source>
<year>1967</year>
<numero>45</numero>
<issue>45</issue>
<page-range>139-44</page-range></nlm-citation>
</ref>
<ref id="B35">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Party]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Homofobia y Nueva Canción Chilena]]></article-title>
<source><![CDATA[El Oído Pensante]]></source>
<year>2019</year>
<volume>7</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>42-63</page-range></nlm-citation>
</ref>
<ref id="B36">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Pedemonte]]></surname>
<given-names><![CDATA[R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Los acordes de la patria. Música y nación en el siglo XIX chileno]]></source>
<year>2008</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Globo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B37">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Peña]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[¿Doctos populares? Advis, Ortega y Becerra, trilogía de límites confusos en el seno de la Nueva Canción Chilena]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Farías]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Palimpsestos sonoros. Reflexiones sobre la Nueva Canción Chilena]]></source>
<year>2014</year>
<page-range>117-37</page-range><publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Ceibo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B38">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ponce]]></surname>
<given-names><![CDATA[D.]]></given-names>
</name>
</person-group>
<source><![CDATA[Prueba de sonido. Primeras historias del rock en Chile (1956-1984)]]></source>
<year>2008</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Ediciones B]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B39">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rodríguez]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[La madre del hombre nuevo se llama revolución: música popular e imaginario del hombre nuevo durante la Unidad Popular en Chile]]></source>
<year>2011</year>
<publisher-loc><![CDATA[Chile ]]></publisher-loc>
<publisher-name><![CDATA[Universidad de Chile]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rodríguez]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Exil, dénonciation et exotisme: la musique populaire chilienne et sa réception en Europe]]></article-title>
<source><![CDATA[Monde(s)]]></source>
<year>2015</year>
<volume>8</volume>
<numero>2</numero>
<issue>2</issue>
<page-range>141-60</page-range></nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rodríguez]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La Nueva Canción Chilena: un ejemplo de circulación musical internacional (1968-1973)]]></article-title>
<source><![CDATA[Resonancias]]></source>
<year>2016</year>
<volume>20</volume>
<numero>39</numero>
<issue>39</issue>
<page-range>63-91</page-range></nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rodríguez]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[El folklore como agente político: la Nueva Canción Chilena y la diplomacia musical (1970-1973)]]></article-title>
<source><![CDATA[Nuevo Mundo Mundos Nuevos]]></source>
<year>2017</year>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="confpro">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Rolle]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[La &#8220;Nueva Canción Chilena&#8221;, el proyecto cultural popular y la campaña de gobierno de Salvador Allende]]></source>
<year>2005</year>
<conf-name><![CDATA[ III Congreso de la IASPM-AL]]></conf-name>
<conf-loc>Bogotá, Colombia </conf-loc>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Salas]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[La primavera terrestre: cartografías del rock chileno y la nueva canción chilena]]></source>
<year>2003</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Cuarto Propio]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B45">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Schmiedecke]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Os primeiros festivais da Nova Canção Chilena e a invenção de um movimento musical]]></article-title>
<source><![CDATA[ArtCultura]]></source>
<year>2014</year>
<volume>16</volume>
<numero>28</numero>
<issue>28</issue>
<page-range>23-37</page-range></nlm-citation>
</ref>
<ref id="B46">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Schmiedecke]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[La influencia de dicap en la Nueva Canción Chilena]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Karmy]]></surname>
<given-names><![CDATA[E.]]></given-names>
</name>
<name>
<surname><![CDATA[Farías]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Palimpsestos sonoros. Reflexiones sobre la Nueva Canción Chilena]]></source>
<year>2014</year>
<page-range>201-18</page-range><publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Ceibo]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B47">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Schmiedecke]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<source><![CDATA[&#8220;Não há revolução sem canções&#8221;: Utopia revolucionária na Nova Canção Chilena]]></source>
<year>2015</year>
<publisher-loc><![CDATA[São Paulo ]]></publisher-loc>
<publisher-name><![CDATA[Alameda]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B48">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Schmiedecke]]></surname>
<given-names><![CDATA[N.]]></given-names>
</name>
</person-group>
<source><![CDATA[&#8220;Nuestra mejor contribución la hacemos cantando&#8221;: a Nova Canção Chilena e a &#8220;questão cultural&#8221; no Chile da Unidade Popular]]></source>
<year>2017</year>
<publisher-loc><![CDATA[Brasil ]]></publisher-loc>
<publisher-name><![CDATA[Universidade Estadual Paulista &#8220;Júlio de Mesquita Filho&#8221;]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B49">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Sepúlveda]]></surname>
<given-names><![CDATA[G.]]></given-names>
</name>
</person-group>
<source><![CDATA[Víctor Jara: hombre de teatro]]></source>
<year>2001</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Sudamericana]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B50">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Stiles Mor]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Suescun Pozas]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introduction: Transnational pathways of empathy in the Americas]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Stiles Mor]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Suescun Pozas]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[The art of solidarity: visual and performative politics in cold war Latin America]]></source>
<year>2018</year>
<page-range>1-20</page-range><publisher-loc><![CDATA[Austin ]]></publisher-loc>
<publisher-name><![CDATA[University of Texas Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B51">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Valladares]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
<name>
<surname><![CDATA[Vilches]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Rolando Alarcón: La canción en la noche]]></source>
<year>2009</year>
<publisher-loc><![CDATA[Santiago ]]></publisher-loc>
<publisher-name><![CDATA[Quimantú]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B52">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vila]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Introduction]]></article-title>
<person-group person-group-type="editor">
<name>
<surname><![CDATA[Vila]]></surname>
<given-names><![CDATA[P.]]></given-names>
</name>
</person-group>
<source><![CDATA[The militant song movement in Latin America: Chile, Uruguay, and Argentina]]></source>
<year>2014</year>
<page-range>1-17</page-range><publisher-loc><![CDATA[Lanhan ]]></publisher-loc>
<publisher-name><![CDATA[Lexington Books]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B53">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Villaça]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[Polifonia tropical: Experimentalismo e engajamento na música popular (Brasil e Cuba, 1967-1972)]]></source>
<year>2004</year>
<publisher-loc><![CDATA[São Paulo ]]></publisher-loc>
<publisher-name><![CDATA[Humanitas FFLCH-USP]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
