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Flamenco was essential to cultural and political discourses in Spain during Late-Francoism and the first years of the Transition to Democracy. Based on hemerographic sources, this paper examines the presence of flamenco in four popular music magazines of that period, analyzing its position as a negotiated music genre since it was understood as traditional music, political song or protest folk, and also as popular music. The first section explores several press references about palos -music styles in flamenco- that show an idea of flamenco as an “immutable” music tradition. After that, the relationship between protest flamenco by Gerena, Morente, or Menese with folk music and the idea of the social protest song is studied. In a third step, it considers how some relevant figures of flamenco guitar, such as Paco de Lucía and Manolo Sanlúcar, are represented by popularization strategies related to popular music narratives. In the epilogue, I argue how this dimension of flamenco as a music genre in constant negotiation articulates several discourses of authenticity related to culture and politics during Late Francoism and the Transition to Democracy.

Music journals serve multiple purposes and parties. The Musikpädagogische Zeitschrift (Music Pedagogical Journal; 1911–27) was the official organ of the “Österreichischer Musikpädagogischer Verband” (Austrian Music Pedagogical Association) and is an important source book on Austrian and Viennese musical life, concert life, and, in particular, teaching and association life. This article focuses on volumes 2–10 (1912–20), in which the journal was issued by the Viennese music publisher Universal-Edition (UE): in a permanent “supplement” to the journal, entitled Modernes Musikleben (Modern Music Life), the publisher seized the opportunity to create a public forum for its newest division—“modern music.” This part of the journal is closely examined and highlighted as an example of the corporate communication, marketing, and advertising strategies of an ambitious and expanding company working on its profile and building up a portfolio. Besides UE’s managing director Emil Hertzka (1869–1932), another important figure of this early period is introduced for the first time: the UE employee Hugo Robert Fleischmann (1886–1942), who edited and was largely responsible for the content of the “supplement.” Fleischmann subsequently continued his work as a copywriter and advertising expert, placing him at the intersection of the publishing and the emerging advertising industries. With Musikblätter des Anbruch (later: Anbruch), founded in 1919, UE created its own sophisticated “house journal,” whose international influence drew upon the lessons learned from its little-known predecessor. An appendix indexes all 44 composer portraits printed in Modernes Musikleben.

Rock and roll music came to Spain by the end of the 1950s. Franco’s regime announced its arrival highlighting one of the characteristics that accompanied the new musical and sociocultural phenomenon that had triumphed a few years earlier in many countries of the world: the outbursts of violence which took place in concerts, dance halls, cinemas, theaters and even the streets. These violent demonstrations were carried out by youth gangs that appeared in the United States and Western Europe during the 1950s and were later known as urban tribes. The incidents that occurred during Bill Haley's performance in Barcelona in 1958 revealed that in Franco's Spain there were youth gangs followers of rock music which grew in number during the first half of the 1960s, and that violence, like with their foreign counterparts, also was a distinctive mark. This work focuses on the activity of these youth gangs in Madrid and Barcelona, their relationship with rock music and the vision of them offered by the media.

Este artigo tem por objetivos rever, mediante análise bibliográfica e de fontes primárias, a história de um de nossos símbolos musicais pátrios, o Hino da Independência, de Dom Pedro I, bem como trazer novos subsídios para o estudo da gênese da imprensa musical brasileira. Tem, igualmente, por escopo divulgar peculiaridades de uma antiga e pouco conhecida partitura desse hino, já não mais presentes em modernas edições de tal composição.This article aims at reviewing, through bibliographical and primary sources analysis, the history of one of Brazil´s national anthems, the Independence Hymn, by Dom Pedro I, as well as bringing new subsidies for the study of the Brazilian musical press origins. It also intends to reveal some peculiarities of an early and lesser known piano and voice score of the Hymn, not present in today's editions of this composition.