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is article addresses the tension between politics and culture with regard to traditional music in the Caribbean region of Colombia. To this end, the National Festival of Pito Atravesao Pablo Domínguez was analyzed, a festival which has been held annually, and consecutively, in the municipality of Morroa, since 1989. For the first 25 years, the Festival was organized by a group of well-respected Morroan families within the Township; however, from 2014 to 2019, the organization of the Festival was led by a non-governmental organization (NGO) with the support of the Municipal Mayor's office. The proposed hypothesis, in this paper, is that the local political class has instrumentalized this Festival as an arena of power (unilateral decision-making, administration of resources, politicization of cultural events), thus preventing it from acting as a showcase for the transmission of musical tradition on a local level. [ABSTRACT FROM AUTHOR]

THIS ARTICLE PRESENTS THE SON JAROCHO, ITS MUSICAL CHARACTERISTICS, PARTICULAR CONTEXT AND TRANSMISSION AS AN EXAMPLE OF THE PATH THAT A MUSICAL TRADITION FOLLOWS TO ENCOUNTER AND SHARE WITH OTHER LANGUAGES. IT'S A BRIEF REFLECTION ON THE SO-CALLED FOLKLORIC MUSIC WHICH HAVE BEEN USED AS STANDARDS OF REGIONAL AND NATIONAL IDENTITIES, FOCUSING ON THE PARTICULARITY OF SON JAROCHO AS A JOURNEY OUTSIDE AND INSIDE THE SCENARIOS. IT INCLUDES THE CHRONICLE OF AN EXPERIENCE IN WHICH A FAMILY OF TRADITIONAL MUSICIANS FROM SOUTHERN VERACRUZ MEXICO "LOS BAXIN", DURING A TOUR IN BARCELONA, SHARED A JAM SESSION WITH THE FAT GROUP (FREE ART THREE). [ABSTRACT FROM AUTHOR]

La Música Tradicional y Popular forma parte de una manera activa y constante de la población catalana porque está presente en manifestación populares y en las fiestas de los pueblos y las ciudades. Los instrumentos y las músicas que se tocan se aprenden a tocar en entornos diversos, pero hay otros elementos extra-musicales como la familia, los horarios, el gasto inicial de comprar el instrumento, condiciones para el aprendizaje..., que son determinantes en el momento de tomar decisiones en relación al querer ir a tocar o, dicho de otra manera, ser músico tradicional y popular. Para conocer la influencia de estos elementos se diseñó una investigación cualitativa, realizando 66 entrevistas a músicos instrumentistas cuya dedicación a la música tradicional y popular es constante, y que poseen un bagaje relevante, pudiendo, desde este prisma científico, descubrir, analizar y poner en valor sus opiniones, fruto de años de oficio de músico tradicional y popular. Las conclusiones, extraídas de sus valoraciones tanto postitvas como negativas, dan una visión de presencia y actualidad de la música tradicional y popular en la sociedad actual tan tecnificada. [ABSTRACT FROM AUTHOR]

In the state of Chihuahua there are musical expressions that achieve identification with their society and culture. Such is the case of the musical style Nonoava, which for more than one hundred years emerged in the Sierra of Chihuahua, and which is still in force. The purpose of this work is to rescue and promote the musical identity mountain region of Nonoava. The musical identity of this town will be revalued through a historical-cultural research work, through the reflection of the regional literature review and interviews with renowned Chihuahuan historians and musicians. It's assumed that it is in the town of Nonoava, Chihuahua, where crystallization of the musical aesthetics formed in the Mexican Revolution is achieved. However, the diffusion of Nonoava's music has been scarce. This first approach aims to find key pieces of this music. [ABSTRACT FROM AUTHOR]

Music education in Chile also needs to have as reference for learning the rich heritage of traditional music. This article aims at the presence and use of traditional music at the sixth grade basic level of Chilean schools. The methodological design is based, on the one hand, on the analysis of the curricula elaborated by the Chilean Ministry of Education and, on the other hand, on a survey carried out on a sample of 113 sixth-grade teachers belonging to 13 of the 15 Chilean regions. In the results, teachers are categorized according to their position in the teaching of these types of music, the role of the State as educator and transmitter of culture in the school is described, and the data is revealed that demonstrates interest in working with traditional music in the classroom. [ABSTRACT FROM AUTHOR]

The present article exposes the results of a research project developed between 2011, 2012 and 2016 with Trío Los Cholos in the city of Lima, in which I sought to problematize the sense and use given to the notion of «traditional» within the musical practice of the ensemble, in interaction with its performance contexts. Our departure point was not to consider such term as an objective trait, characteristic of a variety of cultural artifacts according to authenticity rhetorics or academic folklore theories, but as an abstract principle constructed based on a set of meanings, perceptions or valuations defined by the ensemble's performers. In this sense, it is not sought to determine what is «traditional» but which processes operate to determine the applicability of that category and the actors involved in them. To do this, we reconstructed the life histories of the members of the ensemble and conducted controlled sessions of musical exposition. This allowed us to observe that what we understand as «traditional» responds to a process that starts from the identification of sonorities and styles, which in turn activates representations of place associated to musical geographies and abstract performance contexts. [ABSTRACT FROM AUTHOR]

This text is an ethnographic and sound approach to the «banda típica» (traditional band), one of the traditional musical groups with the greatest presence in the festivities of the districts and peasant communities of the province of Chumbivilcas, department of Cuzco, Peru. It is a descriptive work that examines the places where the band participates, the manner of dressing of its members, its instrumental composition and organization, the subject of the musical themes they interpret and their characteristic toques, exemplified by sound files recorded during field work and stored on the Internet to accompany this article. The field work began in March 2015 and gathers information obtained through participant observation, informal conversations, as well as individual and group interviews with traditional and popular musicians in the framework of the anniversary of the province of Chumbivilcas, (June 21, district de Santo Tomás); festivity of the of the Virgin of the Nativity, (September 8, district of Santo Tomás) and festivity of the of the Señor Justo Juez de Patapampa, (day of «compadres", peasant community of Pfuisa, district of Llusco). Among the main findings is that the typical band has managed to adapt to the vertiginous changes of time due to the close link that it keeps with the turupukllay or «game of bulls», custom that is celebrated in the main festivities of the province of Chumbivilcas. [ABSTRACT FROM AUTHOR]

John Donald Robb (1892-1989) was a composer, music professor, and University of New Mexico administrator who for decades enthusiastically collected Southwestern folk music—in particular Spanish-language nuevo mexicano music. His correspondence as well as other archived documents provide fascinating glimpses into his methods of collecting music and establishing an archive. These glimpses, in turn, help us understand not only Robb and his overall oeuvre better but also, specifically, the way his music collection was assembled—a key endeavor since, as various scholars have argued, an archival collection's degree of usefulness increases as users understand the way the archive was put together. This article is an exercise in "archival ethnography": my aim is to explore and contextualize Robb as one individual involved in a wider academic culture of musical and cultural preservation through archival collections. [ABSTRACT FROM AUTHOR]

This article explores the relations between the press and the mechanisms of condemnation and complaints regarding certain celebratory rituals among the subaltern sectors, especially those that were performed with the accompaniment of the musical instrument known as the marimba, in the context of the modernization of Tumaco, a port city on the Pacific coast of Colombia, during the first decade of the 20th century. The article presents some aspects of the press and journalism of the period, as well as a set of articles that highlight the dances of the black people of the region and that point out fundamental elements of this context in order to understand the ways they were portrayed in the press at that time. [ABSTRACT FROM AUTHOR]

Undoubtedly, Federico García Lorca is one of the most prominent names in the history of literature. But he must also be recognized for his musical side, as he was a very good piano player. He met the most important Spanish composers in his days and really loved the flamenco and traditional music. He found songbooks from very different periods and even used numerous songs in his plays and productions with La Barraca. The main topic in this article is going to be his role as an investigator, because he conducted numerous studies in his travels in Granada, his province, Spain and America. And it is focused on his recording from 1931, Spanish folksongs, made in conjunction with the dancer and singer La Argentinita. [ABSTRACT FROM AUTHOR]

Music education in conservatories and music education in music academies have focused on western and so-called "classical works", leaving traditional and folk music aside (despite the fact that composers were and are often inspired by that music). This leads to a growing distance between music students and their cultural roots, the community in which they live. Through an action research project centered on audition, the pedagogical potential of the music of Sargaceiros [seaweed gatherers] of Apúlia (Braga, Portugal) was discovered, organized and registered. This also allowed for an intensive description of the relationship established between the students and traditional music of their region. [ABSTRACT FROM AUTHOR]

The title given to this research is "Rafael Cabrera Martínez: a diamond in the silence" as he was called by the outstanding cuban musician Gonzalo Roig. The survey was carried out in Bayamo, Granma province from September 2010 to May 2011. Its main objective is to value the sociocultural grants of Rafael Cabrera for the culture of Bayamo in the period of 1913-1964. [ABSTRACT FROM AUTHOR]

The article presents an ethnographic study of collective memory, cultural identity, and the traditional music of woodwind ensembles on the Tarasco plains of Mexico. It explains that the study was carried out through interviews with members of wind ensembles from the town of Tingambato in the state of Michoacán, Mexico as well as with teachers, students, and radio broadcasters in other population centers on the plains. The article shows how Tarasco Indian communities build cultural identity regarding their past and present through traditional music.

Traditional music and brass bands are important symbolic reference points for p'urhépecha identity in the town of Tingambato, Michoacán. In Tingambato there are some 12 brass bands, only 2 of which are dedicated to traditional regional music. Today brass bands are generally made up of young males whilst in the bands which play traditional music we see increasing numbers of women playing instruments and learning to read music. This is a descriptive research project which deals with the experience of women in the world of traditional p'urhépecha music, their participation in brass bands and how they see themselves as musicians. Identification with traditional music and with the p'urhépecha people helps them to deal with gender discrimination which they frequently experience within the brass bands. [ABSTRACT FROM AUTHOR]

In this article we present the results of research work on the role played by folk music in the municipality of Villa Rica (Cauca, Colombia). Thus, we describe three different social contexts (during the Christmas celebrations of Nativity, during children and adults' wakes, and both at the workplace and/or during recreational activities) where folk music is performed, plus two entrepreneurial projects related to music performance in the aforementioned contexts. Based on Pierre Bourdieu's theories on cultural production, our text basically argues that there are intermediate zones where the "logics" common to the two different sub-fields merge together via the social agents involved in the activities. [ABSTRACT FROM AUTHOR]