Abstract

When understanding music as a type of enunciation, and consequently as a type of writing, the revision is proposed of the hegemonic process by which music, in turn understood as a communication support system, has also been colonized. Given that many support, register and communication systems were a focus of attention for the colonization process in the Americas, it is inferred that the music also was, both in its ideological and technological dimensions. To define this, the concept of solfeizacion is used in this work in its validation of the score as the main structure and articulator of western musical theory, in contrast to the case study of Afro-Cuban music, specifically that of the Cuban clave: rhythmic structure that regulates much of the music of this tradition. Thus, we propose such element as an indicator that the ideological aspect in music has not been fully colonized in the Latin American region.