This lecture-demonstration will, through live violin examples, recordings, and sheet music analysis, show how the tango music of Argentina has fused Western Classical music aesthetics and epistemologies with those of the immigrant and native populations living in Argentina during the 1880 - 1950 period. The lasting influence of colonialism on music education and its 'universal' musical aesthetics within Argentina can still be seen today and remains underexplored. Jesuit concepts of time, devotional performance space, individual learning, and orchestral conductors ripped music away from everyday communal social life and placed it within strictly confined spaces and practices. The influence of the pedagogy of the Conservatoire de Paris remains very strong in Argentina and continues to shape the tango musicians of today, for better and worse. The marginalization of tango music from both ethnomusicological scholarship and world music pedagogy reveals ongoing misrepresentation which has reduced this genre to a rose in the mouth on the Hollywood screen. The Argentine musicologists Brunelli and Vega have both built the foundations of scholarship in this genre, but much is still left to be done. My work aims to contribute to the deeper discovery of this genre through praxis and education and demonstrate how it has embodied other kinds of epistemologies and aesthetics that may help develop new pathways in applied ethnomusicology and world music education. The Argentine scholar Mignolo has called for a 'de-linking' (Mignolo, 2007, p. 449) from colonial epistemologies, and suggests building new foundations of pluriversality, thus abandoning the lie of universality.