摘要：Landscapes are dynamic, heterogeneous and built of material and immaterial elements, what makes its appropriation, experience and perception a broad multi-senses exercise, from seeing to feeling, from smelling to hearing. In this sense, the sound environment is one of the most important elements of a landscape, because it can condition the quality of life but also because it is assumed, when associated to music, as a factor of identity statement and territorial marketing. Despite the sound, artistic expressions resulting from complex population mobility, musical instruments and sound styles, which create phenomena of sharing, hybridism and diversification, many musical genres, especially the ones marked as traditional music are associated to specific places. Thus, World Music, for its multiterritory expression, has been a means for statement and marketing of places before touristic flows, nowadays with greater space mobility but also with more fragmented appetites. Tango’s Buenos Aires, folk music’s Dublin, fado’s Lisbon or samba’s Rio de Janeiro, by bounding sound artistic experiences to very particular events and urban environments, are posters for tourism promotion of the cities that intend to state before global flows of cultural tourism. In a global logic of competition between places, culture, and, in its core, musical expressions, it moulds cultural landscapes and attract audiences, mainly for the intervention of cultural industries with a strong diffusion power and market capture.
