The present work is inscribed in the History of Linguistic Ideas (HLI) that studies, mainly, the production of linguistic instruments, this has been done in Brazil since the 16th Century. Language tools are, according to Auroux (1992), the main pillars of our metalinguistic knowledge, resulting from the Technological Revolution of Gramatization. In addition to grammar and dictionaries, vocabularies and glossaries are also considered language tools. Our object of research is the work Vocabulario Gaúcho, produced in the year 1928 by the Santa Marian author Roque Callage, who collected typical entries spoken by the gaucho society. We understand that, among other factors, it is through the language that the gaucho builds his regional identity. Our corpus is structured as follows: from this vocabulary, we cut out 132 entries, using selection criteria that designate subjects. Soon after, we separate them into the following categories: 1. Those who designate social class; 2. Those who designate a geographical and belonging issue, which indicates where the subject comes from; 3. Those who designate the race/ethnicity of the subject; 4. Those that indicate the occupation and/or profession of the subject; 5. Those that have the physical characteristics of the subjects; 6. Those who designate women. After showing the meanings presented by these entries, we selected nine: bahiano, bruáca, china, chirú, chirúa, estancieiro, gasguita, gaúcho and morocha, mobilizing the concepts of designation, description and definition for analysis. The choice of these nine entries is due to the fact that they reveal the socio-historical conditions of the time in which Vocabulario Gaúcho was produced. Most of the entries in Callage's work are in the masculine, and the few that are in the feminine present pejorative senses, as in the case of bruáca, china, chirúa and gasguita. This analysis reveals a Rio Grande do Sul dominated by men, where the gaucho is highly valued; his qualities as virility and ability with the horse are exalted, while women, especially women from the countryside, as Hillaire (1997) tells us, remain restricted to the domestic sphere. Thus, we confirm the theoretical assumptions brought by Nunes (2006b), that dictionaries are discursive objects. Although our research object is a vocabulary, it presents functions similar to those of dictionaries, so that the designations presented by the analyzed articles are lined with history, especially in the history of Rio Grande do Sul. This brings a discourse about the history of the state. / O presente trabalho está inscrito na História das Ideias Linguísticas (HIL), área que estuda, sobretudo, a produção de instrumentos linguísticos que se faz no Brasil desde o século XVI. Instrumentos linguísticos são, segundo Auroux (1992), os principais pilares de nosso saber metalinguístico, resultantes da Revolução Tecnológica da Gramatização. Além de gramáticas e dicionários, vocabulários e glossários também são considerados instrumentos linguísticos. Nosso objeto de pesquisa trata-se da obra Vocabulario Gaúcho, produzida no ano de 1928 pelo autor santa-mariense Roque Callage, que coletou verbetes típicos falados pela sociedade gaúcha. Entendemos que, dentre outros fatores, é pela língua que o gaúcho constrói sua identidade regional. Nosso corpus está estruturado da seguinte maneira: deste vocabulário, recortamos 132 verbetes, tendo como critério de seleção verbetes que designam sujeitos. Logo após, os separamos nas seguintes categorias: 1. Os que designam classe social. 2. Os que designam uma questão geográfica e de pertença, que indica de onde o sujeito vem. 3. Os que designam a raça/etnia do sujeito. 4. Os que indicam a ocupação e/ou profissão do sujeito. 5. Os que apresentam características físicas dos sujeitos. 6. Os que designam mulheres. Depois de apresentarmos os sentidos apresentados por estes verbetes, selecionamos nove: bahiano, bruáca, china, chirú, chirúa, estancieiro, gasguita, gaúcho e morocha, mobilizando os conceitos de designação, descrição e definição para a análise. A escolha destes nove verbetes se deve ao fato de que eles nos revelam as condições sócio-históricas da época em que Vocabulario Gaúcho foi produzido. A maioria dos verbetes apresentados na obra de Callage está no masculino e os poucos que estão no feminino apresentam sentidos pejorativos, como é o caso de bruáca, china, chirúa e gasguita. Esta análise nos revela um Rio Grande do Sul dominado por homens, onde o gaúcho é bastante valorizado; suas qualidades como virilidade e habilidade com o cavalo são enaltecidas, enquanto as mulheres, sobretudo as mulheres de interior, conforme nos diz Hilaire (1997), permanecem restritas ao âmbito doméstico. Assim, confirmamos os pressupostos teóricos trazidos por Nunes (2006b), de que dicionários são objetos discursivos. Apesar de nosso objeto de pesquisa ser um vocabulário, ele apresenta funções semelhantes às dos dicionários, de maneira que as designações apresentadas pelos verbetes analisados estão revestidas de história, sobretudo da História do Rio Grande do Sul, portanto trazem um discurso sobre a história do estado.

Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugones (1874-1938), Ricardo Rojas (1882-1957), and Manuel Gálvez (1882-1962). Their times were marked by contradictions: xenophobia and the desire for foreign approbation; pride in an imaginary, "barbaric" yet noble ideal wiped out by the "civilizing" ambitions of revered nineteenth-century leaders. Krausism, a system of ideas following the teachings of Karl Friedrich Krause (1781-1832), had an impact on the period as exhibited in the political philosophy of Hipólito Yrigoyen (1852-1933), who served as president from 1916 to 1922 and 1928 to 1930 when he was deposed by a right-wing coup d'état. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation.