In the 1577 edition of his De Musica Libri Septem , Francisco de Salinas illustrates in the 13th Chapter of the 6th book his discussion about meters composed by 5 tempos with a Moorish song that he affirms to be "extremely popular" in his time, and whose lyrics he transcribes as Calvi vi calvi, calvi aravi (that can accept as a possible translation from the Arabic "the heart of my heart is the heart of a Moor"). An interesting feature of that song is that Salinas presents it in two versions: the previous one and another in Spanish, singing Rey Don Alonso, rey mi señor ("King Don Alonso, my Lord the King"). That example illustrates the gradual transition from what we can consider as the prevalence of a ternary cultural system (Lotman 2004) in part of the Al-Andalus era (especially between the 11th and 12th centuries) to the binary system that characterized the cultural representations in Catholic Spain and Portugal throughout the 16th century. A semiotic analysis of that composition and its cultural context can not only illustrate the process of transition from ternary to binary systems but also shed some light to the possible contributions of semiotics with respect to the study of Cultural Heritage as a whole.