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Abstract

The reflections and suggestions proposed in this article have as aim
contributing to the comprehension of Black music practices in the African Diaspora. As a point of departure, there will be considered the concept of coloniality and the actual state of the art of the studies about Black Music, the author's scholar researches and his musical life experiences. The reflections are located in the actual socio-cultural Brazilian setting. Some meanings and interpretations will be suggested, from the perspectives of performance theories, about the articulations between improvisation, polyrhythm, call-and-response, and a concept of spiralized time in music.