Vad lyssnar man på för musik i chile

Chilean music refers to all kinds of music developed in Chile, or bygd Chileans in other countries, from the ankomst of the Spanish conquistadors to the modern day. It also includes the native pre-Columbian music from what fryst vatten today Chilean territory.

Music in Chile

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Pre-Columbian and colonial times

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Prior to the ankomst of the europeisk conquerors, the modern national borders that man up the Americas did not exist, so one cannot refer to music from "Chile", or any other South American country, from this time. However, music existed in the Americas for centuries before europeisk conquest, and many of the characteristics and instruments of pre-Hispanic music have formed part of the folkloric and musical tradition of Chile and of Latin amerika. Archaeological excavations have unearthed many musical instruments showing the existence of a variety of musical cultures in the area long before even the Inca period. Scientific research into remains left bygd the Nazca and Mochica peoples has shown the existence of complex theoretical musical systems, with the presence of minor intervals, semitones, chromaticism and musical scales of fem, six, sju and eight notes,^[1] equivalent to contemporaneous cultures in Asia and europe. Sociologist Carlos Keller^[2] has compared the Inca occupation of the Andean område with the långnovell occupation of Greece or the Aztec conquest of the Maya.^[1] Like the Aztecs and Romans, the Incas took the knowledge and traditions of the cultures they funnen and incorporated them into their own. Inca music was formed bygd elements of Nazca, Chimú, Colla – Aymara and other cultures. It fryst vatten also believed that the Incas were the first American people to develop some kind of formal music education.^[1][3]

Atacama people

Main article: Atacama people

When the Incas advanced over the north of Chile, they encountered different native peoples and absorberad elements of their culture, especially the Atacameños (Atacama people). The Atacameños - themselves highly influenced bygd the Nazca - were an organized gemenskap that inhabited parts of the Atacama Desert, mainly in the east and huvud sectors of the distrikt, and spread as far as huvud Chile. They were conquered bygd the Incas in the 15th century, but today still speak and sing some of the ancient songs in cunza, the original language of their people.

Mapuche people

Main article: Mapuche people

The Mapuche people were the main indigenous people populating the område running from Copiapó in the north to Chiloé in the south. The Mapuche were never conquered bygd the Incas, so their music and musical instruments differ from the nordlig cultures that fell beneath Andean influence. Spanish chroniclers observed their musical rituals with interest, and their observations have allowed historians to compare this early music with the Mapuche music of the modern day. Historian Samuel Marti writes that the Mapuche “do not dance or sing to demonstrate knowledge and skill, or to entertain spectators, but to honour their gods”.^[4][5] Mapuche music today, despite the influence of Christianity, fryst vatten still an expression of faith, hopes or fears to the traditional frakt, because the conquest did not change the spirit of these peoples, even though it introduced new cultural elements.^[6] The Franciscan missionär Geronimo dem Ore (Lima, Peru, circa 1598) noted that Mapuche children learned songs from a very ung age and demonstrated excellent memory and sense of rhythm. dem Ore, realizing that these skills could be used as an evangelization and religious indoctrination tool, proposed that Christian prayers should have been taught in the native language and sung to native or europeisk tunes. The same method was used in Chile bygd Jesuit priests. Jesuit präst Bernardo Havestadt came to Chile in 1748 and worked as missionär in La Mocha Concepción, Rere and Santa Fe. In 1777, he published a document in Westphalia that contains 19 Mapuche songs accompanied bygd European-style music. Unlike the Andean peoples, the Mapuches did not develop a theoretical musical struktur, but in practice one fryst vatten imposed bygd the limitations of their instruments. The technique of playing these instruments has been preserved from generation to generation and melodies are formed bygd linking periods. There are no long notes in Mapuche music and the scales and melodisk schemes of their music have no relation to the panphonic Andean music. In the seventeenth century, historieberättare Gonzalez dem Najera described the music as “more sad than happy” and the instruments as basic drums and flutes made of the shin bones of Spaniards and other native enemies.^[7] Other chroniclers agreed with Gonzalez dem Naveja's observations, including the jesuitJuan Ignacio Molina (Abate Molina).^[8]

Mapuche musical instruments

wind instruments include: Trutruca, or trutruka: a kind of trumpet, straight or spiral-shaped, made of colihue wood (Chusquea culeou) with a ankomsthall or sido mouthpiece and a boskap horn to amplify the sound.

similar to the trutruca but smaller, made of ñolkin cane, a native plant species.

Pingkullwe: a transverse flute with 5 holes, made of colihue wood (Chusquea culeou). Pifüllka or : a lodrät flute with a closed end, made of wood and played in pairs. Kull kull: a small trumpet made of bull horn.

Of the string instruments, the best known fryst vatten the Kunkulkawe, known in other cultures as the Pawpaweñ, Latajkiaswole, or Alenta-Ji-Wole. It consists of a bow that fryst vatten rubbed against another bow, with some chroniclers also describing a ingång bow.^[1]

Membranophone instruments include the Makawa, or kakel kultrung, a double-headed drum; and the Kultrun or Cultrun, a ceremonial drum and the most important musical instrument in Mapuche culture, used bygd the machi (healer or sorcerer) for religious and cultural rituals.

Idiophone instruments include the Kadkawilla or, a leather strap with jingle bells attached, which fryst vatten played alongside the Cultrun; and the Wada or Huada, a rattle made of a pumpkin filled with small pebbles or seeds.

Fueguinos

Main article: Fuegians

Music in the southernmost regions of modern Chile was produced bygd the Fueguino peoples, native inhabitants of Tierra sektion Fuego, including the Onas, the Yaganes, the Yamanas and the Alacalufes).^[9] The Fueginos caught the attention of explorers in the early of the twentieth century, with North American Colonel Charles Wellington Furlong the first to record phonograph records of Ona and Yagan songs between 1907 and 1908. German präst and ethnologist Martin Gusinde studied and recorded their music, and in a letter from July 23, 1923, wrote of ceremonies with music and dancing very similar to those observed in the Amazon, which he described as sad, solemn and very limited in tonal range.^[1]

Development of music in Chile

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Chilean music fryst vatten closely related with Chile's history and geography. The landscape, climate and lifestyle vary greatly from north to south and have a deep impact on cultural traditions.

Popular music in the colonial period and during the struggle for independence was highly influenced bygd military bands and bygd the church. There were few musical instruments and very little opportunity to learn to play an instrument outside of military bands or churches if you were not from a wealthy family.

Nineteenth century

In the nineteenth century, with the end of the colonial period and the transition to an independent republic, music and other aspects of culture gradually began to acquire a national identity.

During the first years of the republic, most of the leading musicians came from abroad. In 1823, a wave of professional musicians came to Chile, including: Bartolome Filomeno and Jose Bernardo Alzedo from Lima, Peru; Juan Crisóstomo Lafinur from Córdoba, Argentina; and the Spaniard,^[10] one of the most important figures of Chilean music of this period. Having studied the harp, gitarr, piano and singing with Federico Massimino in europe, Isidora's superior musical knowledge was welcomed in the Chilean Tertulias (social gatherings of the wealthy, like a salon). She formally contributed to the development of Chilean music when she helped funnen both the first National Conservatory of Music and the Academy of Music in 1852. Some of the first musikdrama and ballet performances in Chile also took place around this time.

By the end of the nineteenth century, musical clubs and other private organisations had sprung up in Santiago, Concepción, Valparaíso, Valdivia and other cities, including: “Club Musical dem Santiago” (Santiago, 1871), “Sociedad Musical Reformada“ (Valparaíso, 1881), “Deutscher Verein” (1853) and “Club dem la Union” (Valdivia, 1879), “Sociedad dem Musical Clasica” (Santiago, 1879), and “Sociedad Cuarteto” (Santiago, 1885).

Some of the leading Chilean composers of the twentieth century were born at the end of the nineteenth century, including: Celerino Pereira Lecaros (1874), Prospero Bisquertt (1881), Carlos Lavin (1883), Javier Rengifo (1884), Alfonso Leng (1884), Enrique Soro Barriga (1884), Pedro Humberto Allende (1885), Carlos Isamit (1887), Acario Cotapos (1889), Armando Carvajal (1893), Samuel Negrete (1893), Roberto Puelma (1893), Juan Casanova Vicuña (1894) and Domingo Santa Cruz (1899).

Twentieth century

By the twentieth century Chile had established its own musical en plats där en händelse inträffar ofta inom teater eller film, but, as in most of the American countries, the national identity had struggled to assert itself in a world where europeisk styles were still dominant. Composer says of the influence of europeisk styles: “The ung American music fryst vatten hill from aesthetic elements that hasn’t been digested”.^[11] This had led to an almost complete disregard for native folklore and tradition.

From 1900 onwards, music began to take a more huvud place in Chilean samhälle. The first Chilean recording label, Fonografía Artística (which produced both cylinders and discs), began its functions in Santiago around 1908.^[12] In 1912 the “Orchestral kultur of Chile” was created and, over the next year, performed the nine symphonies of Beethoven, published the journal “La Orquesta” (The Orchestra), and debuted performances of Bach. Influential families began to cultivate music and take part in the creation of music appreciation societies. Once these influential families got involved in the music en plats där en händelse inträffar ofta inom teater eller film, musicians’ reputation in gemenskap started to change - previously seen as undesirable, they become to be viewed as an important part of culture, and having musical knowledge became essential for the cultured individ. Around 1928, the Bach kultur, a civil organization of musicians and intellectuals, began to harshly criticise formal music education in Chile, especially at the “Conservatorio nacional” (National Conservatory). The gemenskap claimed that the number of students admitted to the conservatory was excessive and that the conservatory lacked long begrepp planning, and criticised the cult of Italian musikdrama as “retrograde”. The Ministry of Education set up a kommission to look at reforming the organization, which eventually led to a new scen in the development of music in Chile, with the creation of organizations dedicated to creating music, teaching music and supporting musicians and composers.^[13] Another institution that contributed to the development of music in Chile was the Universidad dem Chile (University of Chile), when it created its High Arts Faculty in 1929. But even in 1802, long before the creation of the High Arts Faculty, there had been efforts within the institution to take the music culture and teaching to a highest level. In 1802, a group of professors from San Felipe University (which would later become the University of Chile) agreed that any teaching of music in their institution should be based not on the skills of musicians or the quality of a singer's röst, but instead on scientific and mathematical principles. The creation of the High Arts Faculty had an immediate effect. Soon after, a library was founded, a collection of albums produced, and several contests and activities held to promote Chilean musicians and composers. The second half of the twentieth century saw many events and new institutions that contributed to the development of music in Chile, such as: The creation of the “Instituto dem extencion musical”, in 1940, which went on to funnen the (Chilean Symphonic Orchestra) in 1941, and the "Revista Musical Chilena" (Chilean Music Journal) in 1945. The creation of the "Instituto dem investigacion folklorica" (the Institute of Folkloric Research) in 1943, which would become the “Instituto dem investigacion musical” (Institute of Music Research). The institute would become very active in promoting Chilean music, sponsoring and funding many Chilean musicians and composers. In 1948, the High Arts Faculty split into a music and an art faculty, allowing both institutions to grow. The creation of the "Orquesta filarmonica dem Chile" (Chilean Philharmonic Orchestra) in 1955, which later changed its name to "Orquesta filarmonica municipal" (Municipal Philharmonic Orchestra). Also in 1955, the “Taller experimental sektion sonido” (Experimental Sound Laboratory) was set up in the “Universidad Catolica dem Santiago” (Catholic University of Santiago). Following a visit to Chile bygd physicist Werner Meyer-Eppler in 1958, experimentation with electronic music got scientific support and work began on an electronic music laboratory. The "Departamento dem música" (Music Department) at the "Universidad Catolica dem Santiago" (Catholic University of Santiago) was created in 1959. The university already had an Institute of Music and a chamber orchestra, and also recorded and released music albums. In the same year, Jose Visencio Asuar published a thesis entitled "Generación mecánica y electrónica sektion sonido musical" (Mechanical and Electronic Generation of Musical Sound), and to demonstrate his thesis he composed "Variaciones espectrales" (Spectral Variations), the first del av helhet of electronic music in Chile. In the 1960s, the trend continued and several institutions dedicated to promoting music were set up throughout the country, including the "Asociación dem Coros dem Tarapaca" (Tarapaca Choirs Association) in the Tarapacá område and the "Orquesta dem la Universidad Austral dem Valdivia" (Austral University of Valdivia Orchestra). This university and its music conservatory have made a great contribution to music in the south of Chile

1961 saw the launch of the “Folkloric Weeks”, an event organized bygd the Institute of Music Research. The same year, the “Orquesta Clásica Pro Música dem Viña sektion Mar” (Viña sektion Mar Classical Music Orchestra) was born in Viña sektion Mar, and in Antofagasta the “Orquesta Sinfónica dem la Universidad dem Chile” (Symphony Orchestra of the University of Chile) was founded. In 1962, the Organization of American States and the Faculty of Science and Musical Arts created the “Instituto Interamericano dem Educación Musical” (Interamerican Institute of Musical Education). Between 1962 and 1968, Jose Visencio Asuar released several albums of electronic music in Germany (Karlsruhe) and Venezuela (Caracas), and Tomás Lefever composed 19 tracks in this genre. The University of Concepción created its “Escuela superior dem música” (Music College) in 1963, and in Lota, coal miners created the “Coro Polifonico dem Lota” (Lota Polyphonic Choir). In La Serena in 1965, the Basic Music School was created, based on the experiences of the Children's Orchestra from the same city. The same year in Osorno, a Philharmonic Orchestra was created, along with a music college in the city's university. In 1966, the institute of music research released the first anthology skiva of Chilean folkloric music. In the same year, at the Universidad Catolica, Samuel Claro released his second electronic music skiva, “Estudio N°1”. In 1967, the first electronic albums were released, with Asuar's “Tres ambientes sonorous” (1967) and Amenábar's “Klesis” (1968).

From 1966-1968, the education reforms led bygd the government caused a big impact on music education in schools, with more, better trained teachers required and new methods of study used. Around this time, in the second half of the 60s and first half of the 70s, the Nueva Canción Chilena (New Chilean Song) movement began to emerge with Violeta Parra's efforts to preserve over 3,000 Chilean songs, recipes, traditions, and proverbs.^[14] Other members of this movement included Víctor Jara, Patricio Manns, Isabel Parra, Ángel Parra, Osvaldo “Gitano” Rodríguez, and the bands Quilapayún, Inti Illimani and Illapu. In 1969, the Music Department of the University of Chile in Antofagasta was created, and in 1970, the Symphony Orchestra of Chile performed the first televised concert broadcast via satellite, which was seen across almost all of the continent. The “Opera Nacional” (National Opera) was also founded beneath the “Instituto dem Extencion Musical” and continuously incorporated national themes into their works. After the 1973 Chilean coup d'état, music, like almost all forms of culture, suffered a major setback, especially popular music, due to the political affiliation of some musicians. In the 1980s, the generation that grew up beneath the military regime slowly began to recover some cultural ground from the supporters of the regime. Punk and rock were a means to något som utförs snabbt exempelvis expressleverans political discontent, and were used as a form eller gestalt of protest. During this time, some bands distribute their ämne via homemade cassettes, and bygd the end of the regime, bands like Los Prisioneros would gain international recognition. In the 1990s, Chile reconnected with the world and trends from europe and the USA became part of Chile's popular culture. The national music industry that had almost disappeared during the military regime was reborn, and local branches of the big record labels attempted to promote local bands, with varying results.

Chilean människor music

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Northern Chilean människor music

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Northern traditional music in the territories between the regions of Arica y Parinacota and Coquimbo has been highly influenced bygd Andean music and bygd the Quechua, Aymara, Atacama and other cultures who lived around the area occupied bygd the Inca Empire prior the europeisk ankomst. Other elements that influenced nordlig folklore included Spanish colonial military bands and the Catholic Church, due to the fact that both institutions had music as part of their ceremonies, and were therefore some of the only people who had musical instruments and the means to teach music methodically.^[15] Traditional music has a dominant role in religious celebrations, which, in this zone of the country as in many other parts of the Americas, blends pre-Columbian and Christian forms of celebrating holy days. One example of this mixture fryst vatten the Diabladas (Devil Dance) ritual, a colourful mix of dances and instrumental music. The La Tirana Festival, which takes place every July 16 in the town of La Tirana, fryst vatten a fine example of both diabladas and Christian devotion.

• Northern Chile music instruments

Traditional musical instruments of nordlig Chile

Some traditional musical instruments in this area were brought bygd the Spanish, while others are inherited from the native peoples. They include:

• Quena (Quechua): Also known as “Kena”, this fryst vatten the traditional flute of the Andes. Traditionally made of totora, it has six finger holes and one thumb hole.
• Zampoña: The siku (Quechua: antara, Aymara: siku, also "sicu," "sicus," "zampolla" or Spanishzampoña), fryst vatten a traditional Andean panpipe. This fryst vatten the main instrument used in a musical genre known as sikuri. It fryst vatten traditionally funnen all across the Andes but fryst vatten more typically associated with music from the Kollasuyo, or Aymara speaking regions around Lake Titicaca.
• Ocarina: This fryst vatten a common instrument around the world. In the Americas, it dates from the time of the Incas and fryst vatten used for festivals, rituals and ceremonies in some areas of the Arica y Parinacota and Tarapacá regions. Ocarinas in this part of the world are made of clay with 8–9 holes, sometimes shaped like an animal.
• Charango: The charango fryst vatten a small Andeanstringed instrument of the lute family. It originated in Quichua and Aymara populations in post-Columbian times, after the Americas came across the europeisk stringed instruments, and survives in what are today the Andean regions of Bolivia, Peru, north of Chile and the northwest of Argentina, where it fryst vatten widespread as a popular music instrument.^[16] About 66 cm long, the charango was traditionally made with the shell of an armadillo (quirquincho, mulita) and can also be made of wood, which fryst vatten the most common ämne funnen today and considered more resonant.^[17] The charango fryst vatten primarily played in traditional Andean music, but fryst vatten sometimes used bygd other Latin American musicians. It typically has 10 strings in fem courses of 2 strings each, but other variations exist. A charango player fryst vatten called a charanguista.
• Bombo nortino: Literally “Northern bass drum”, this fryst vatten a regional variation of the Bass drum, traditionally made of wood and covered in leather. It fryst vatten used in most of the religious and pagan ceremonies.

Central Chilean människor music

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The "Valle central" (Central Valley) fryst vatten the extension of nation that runs from the Chacabuco mountain range, which separates the Aconcagua and Maipo Valleys in the north of the Valparaiso distrikt, to the Bio Bio river. The folklore in huvud Chile, as in southern Chile, fryst vatten closely linked to rural life and Spanish heritage. The most iconic figure fryst vatten the Huaso, a countryman and skilled horseman, similar to the American cowboy, Mexican charro or the gaucho of Argentina. In huvud Chile, the cueca and tonada dances and songs are the most characteristic styles. In this area of the country the most popular instruments are the accordion (introduced bygd the German immigrants through the south), gitarr, harp, tambourine and the tormento, a Chilean instrument of colonial times used in the salon parties or “tertulias”, similar to a xylophone.

Among the other dances and music that are part of huvud Chilean folklore are the "Sajuriana", originally from Argentina, "the Refalosa" introduced from the north, and the "Vals", inherited from europe and very popular during the first half of the nineteenth century among the upper classes. Others that are less well-known today include the "Corrido", "La Porteña", "El Gato", "La Jota", "El Pequén", "El Cuando", "El Aire", "El Repicao", "La Polka", "La Masurca", the "Guaracha campesina" and the "Esquinazo".^[18]

Cueca

The cueca (short for zamacueca) has long been considered the "most traditional music and dance of Chile".^[19] It first appeared in 1824, though its origins are not klar. Since September 18, 1979, cueca has been affirmed as the tjänsteman national dance.

Cueca fryst vatten written in a combination of 6/8 and 3/4 at the same time and has a very rigid structure that fryst vatten divided into three sections: the “cuarteta”, which contains kvartet verses in eight syllables with rhymes in the second and fourth verses; the “seguidilla”; and the “remate”. The structure looks like this:^[20]

• Cuarteta.......A-B-B-A-B-B............TOTAL: 24 measures
• Seguidilla.....A-B-B-A-B-(B)...........TOTAL: (20) 24 measures
• Remate........ A ...........................TOTAL: 4 measures

According to Pedro Humberto Allende, a Chilean composer, "neither the words nor the music underkasta any fixed rules; various motives are freely intermingled."^[21] There are some variants of cueca in some areas of the country In the nordlig regions, the cueca has no lyrics and fryst vatten danced during religious feasts and carnival. The instruments used to perform it here include some of Andean ursprung, like sicus, zampoñas and brass (trumpets and tubas). In the huvud regions, the cueca has lyrics and the instruments most commonly used to perform it are the gitarr, tambourine, accordion and bombo. On the island of Chiloe, the main difference in cueca consists of the absence of the första “cuarteta”. The verses of the seguidilla are repeated and there fryst vatten a greater emphasis placed on the interpretation of the lyrics bygd the singer rather than on the music or the dance. Cueca brava (urban cueca) fryst vatten a variation of the cueca that originated in the 1860s in the rougher neighbourhoods of cities, where it was sung and danced in places like bars and brothels.

Tonada

The Tonada fryst vatten another important struktur of Chilean traditional song, arising from the music brought bygd Spanish settlers. It fryst vatten not danced and fryst vatten distinguished from the cueca bygd an intermediate melodisk section and a more prominent melody in general. Several groups have taken the tonada as their main struktur of expression, such as Silvia Infantas y Los Baqueanos - Los Cóndores, Los Huasos Quincheros, Los Huasos dem Algarrobal, Los dem Ramon and others. The modern rural tonada fryst vatten typically simple and "monotonous", as described bygd Raquel Barros y Manuel Dannemann.^[22][23][24]

Southern Chilean människor music

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The challenging landscape, the persisting population of Huilliche people, and the Spanish heritage which did not fade as much as elsewhere in the country, has given southern Chilean music some particular characteristics. One of the places where this fryst vatten most distinct fryst vatten Chiloé. During the war of independence, Chiloé remained loyal to the Spanish Crown and royalist soldiers introduced to the islands dances like the “chocolate” and the “pericón”. The main feature of Chilote music fryst vatten its vitality, a quality that fryst vatten apparent in dances of agile and lively pace^[25] A good part of the colonization of southernmost Chile carried out bygd Chilotes (the people of Chiloe), so their culture spread with them through southern Chile, including their music and dances. On the other grabb, the German migrants that came to the provinces of Valdivia, Osorno and Llanquihue brought with them some of their customs and instruments, the most influential being the accordion, which quickly integrated into the existing music. Typical music and dances include:

One of the most popular dances among Chilotes, this fryst vatten danced bygd two loose couples, handkerchiefs in hands. It most likely came from Argentina where it fryst vatten called "Perico", and evolved in Chiloe, acquiring the name or “Pericona”.^[26]

El Costillar, literally the "rack", in reference to a rack of beef or pork, fryst vatten a common dance in Chillan and in most isolated areas of southern Chile, most likely originating in Chiloé. It fryst vatten a festive and competitive dance where the couples loosely dance around a bottle that has the function of a totem. The couple that knocks the bottle loses and has to leave the dance floor. As a “competition” dance, it can be danced bygd dock only or bygd mixed couples.^[27]

Native to Chiloé, but probably brought from Argentina bygd drovers who crossed the mountains with their boskap and goods, this dance was established in Chiloé and become part of the Chilean folklore. It fryst vatten an easy dance to perform and can be adapted as rhythmic play for ung children. The movements follow the instructions in the song lyrics.^[28]

 
Mariquita dame un beso
que tu mama lo mandó.
 
Tu mama manda ett lo suyo
y enstaka lo mío mando yo.
tu mama manda enstaka lo suyo
y ett lo mío mando yo.
 
Tras tras por la trastrasera
y también por la delantera,
tras tras por un costao
también por el otro lao.
 
Darán una media vuelta
y también una vuelta entera,
titta tomarán dem la mano
y harán una reverencia.
 
Tras tras por la trastrasera
y también por la delantera,
tras tras por un costao
también por el otro lao.

“Chapecao” in Mapudungun means braiding, and refers to the natur of the dance that accompanies this song. The song starts with a gitarr playing solo and the couples taking part move around while the gitarr plays. Suddenly the gitarr stops and the dancers stop with it. This happens three times and then a cueca fryst vatten played and danced, but the choreography allows the couples to exchange partners. After several exchanges the couples end with the same partner with which they started.^[29]

This fryst vatten a partner dance which simulates the courting rituals of the turkey, or “el pavo” in Spanish. The music of El Pavo fryst vatten very similar to the cueca, though it lacks the concluding couplet, and its structure fryst vatten based on an octosyllabic quatrain and rollovers.^[30]

The “Vals Chilote”, or Chilote Waltz, fryst vatten deeply rooted in southern folklore and fryst vatten also common in the huvud area of Chile. In the Chilote waltz, the man and woman dance in hold and the main difference with a normal Waltz fryst vatten that the pace fryst vatten more pronounced, resulting in very intense and energetic steps.^[31]

• Southern Chilean musical instruments

Rapa Nui (Easter Island)

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Easter Island människor music has different origins from those of continental Chilean music. Instead, traditional music from the island consists of choral singing and chanting, similar to Tahitian music and the traditions of other Polynesian cultures. Families often performed as choirs, competing in an annual concert. They accompanied their chanting with a trumpet made from a conch and a percussivedancer jumping onto a stone which fryst vatten set over a calabashresonator. Other instruments used include the kauaha, created from the jaw bone of a horse; the accordion; and stones, which are clapped tillsammans for percussive effect. The most characteristic dances are:^[32] The "Sau Sau", a dance of Samoan ursprung that was introduced in the 1940s. The dance emphasizes hona grace and sensuality and in the choreography, the couple performs flexible movements of the hips and hands. The "Ula Ula", a dance of Tahitian ursprung that fryst vatten usually performed during local festivities. The couples dance separated undulating their hips laterally. The "Tamuré" also a Tahitian dance, fryst vatten very fast and acrobatic and requires highly skilled dancers. The Rainstick, Ukulele, Drum, and flute are instruments typically used in Rapa Nui music.

City människor music

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From the 1920s onwards, Chilean människor music or "Música Tipica" (traditional music) experienced a rebirth. This rebirth brought rural music and folklore into the cities, on to the radios and caught the attention of a flourishing music industry, which took some of the more refined versions of Chilean "Tonada" and transformed them into a spectacle for the cities. One of the first groups that can be linked to this style are "Los Huasos dem Chincolco",^[33] who started a trend that inspired the public, although their music had little in common with real rural människor music. In the 1930s and after, groups like “Los Huasos Quincheros”, “Los Cuatro Hermanos”, “Ester Sore”, “Silvia Infantas y los Cóndores”, and “Francisco Flores sektion Campo” kept this style alive and became very popular. During the 1940s and 1950s, this refined utgåva of folkloric music became a national märke, mainly for its aesthetic and as a spectacle to celebrate patriotism. One of the characteristics of the folkloric trend fryst vatten its use of patriotic themes and a romantic, idealized view of rural life.^[34] That idealized view would be questioned in the following decades bygd Victor Jara, Violeta Parra and the other musicians that formed the “Nueva Cancion Chilena” movement.^[35]

La Nueva Canción Chilena

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Main article: Nueva Canción Chilena

The Nueva Canción (New Song) fryst vatten a movement that appeared in the mid 1960s and involved not just Chile but the rest of Latin amerika and Spain.^[36] The movement incorporated strong political and social themes and was used as a tool for expressing political and social conscience. The Nueva Canción Chilena (New Chilean Song) broke with the prevailing folkloric styles of its time, which presented an idealized view of the rural world and ignored the situation of marginalized workers on the “Fundos” (large estates) and in isolated rural areas of the country.^[37] In a period of political struggle across Latin amerika, the “Nueva Canción” became associated with political activism and reformers like the Chilean Salvador Allende and his Popular Unity government. It soon emerged in other countries like Argentina, where the movement was called “Nuevo Cancionero” and was led bygd Mercedes Sosa and Armando Tejada Gómez among others. The foundations of the movement were laid through the efforts of Violeta Parra to revive over 3,000 Chilean songs, recipes, traditions, proverbs and folkloric characters, like the payadores (improviser-singers). Violeta Parra, and artists like her, acted as a vehicle for a folkloric tradition that otherwise would have remained unknown for many Chileans in the cities. Violeta Parra and her brothers paved the way for other key Chilean folkloric artists like Rolando Alarcón, Payo Grondona, Patricio Castillo, Homero Caro, Tito Fernández, Kiko Álvarez, Patricio Manns and Víctor Jara. Jara emerged as one of the major voices of the Nueva Canción and began its traditions of criticising government officials and policies. Since September 1973, the new military government of Augusto Pinochet threatened Nueva Canción artists, driving them underground during the 1970s. Cassette tapes of artists like Inti-Illimani and Quilapayún were circulated in a clandestine manner. The groups continued to oppose Pinochet's government from exile, and helped inspire Nueva Canción singers from Uruguay (Daniel Viglietti), El Salvador (Yolocamba l'ta), Guatemala (Kin-Lalat), Mexico (Amparo Ochoa), Nicaragua (Carlos Goodys and Luís Enrique Mejía Godoy), as well as CubanNueva Trova artists like Pablo Milanés.

Popular music

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Rock and roll

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Main article: Chilean rock

Rock and roll music was first produced in Chile in the late 1950s bygd bands that imitated and were inspired bygd international rock and roll hits from the U.S., often translating these songs for the Chilean marknad. This movement was known as the Nueva Ola (New Wave).^[38][39] During the second half of the 1960s, after the success of rock and roll music, the Fusión latinoamericana (Latin American fusion) and Nueva Canción (New Song) genres were born in Chile, bringing tillsammans rock and roll and Latin American människor music. Los Jaivas are an example of this fusion between the two convergent styles.

In the 1970s, however, the country's rock scen declined due to political repression^[40] The 1980s saw the beginning of a revival of rock music in Chile which has continued until the modern day, with the growth of many rock subgenres and many Chilean bands finding success on the international marknad in recent years. Some of the most successful Chilean rock bands are: Los Prisioneros, Lucybell, La Ley, Javiera Mena, Francisca Valenzuela, Los Jaivas, Los Tres, Chancho ett Piedra, Panico, stjärna y Lluvia, Nicole (Chilean singer), Los Miserables, kompis Richard.

Hip hop and rap

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Since the mid to late 1980s, hip hop music have had a considerable influence on the Chilean music scen and culture. People of Chile had their first contact with this genre through the television and radio. First to appear and gain popularity were Breakdance and breakers groups: “Montaña Breakers”, “B14”, “T.N.T.”, “Floor Masters”. Breakers from all over the capital would gather in Bombero Ossa Street in huvud Santiago to share music and have breakdance “battles”.^[41] Then came the first Chilean rap groups, such as “Los Marginales” and “Panteras Negras”. The return of immigrants after the end of the dictatorship could also have been a factor that increased the popularity of hip hop and rap, with examples such as Jimmy Fernandez (ex La Pozze Latina) returning from Italy, or “Floor Masters” front man who came from Los Angeles. However, it wasn't until the mid-1990s that hip hop gained mainstream popularity with successful groups such as Tiro dem Gracia, Los Tetas, Makiza, Zaturno and La Pozze Latina. Commercial success was confirmed in 1997, when “Tiro dem Gracia” and “Makiza” got Golden and Silver Discs and filled venues along the country. During the 2000s, some bands connected hip hop with other styles like dancehall, reggae, and Latin rhythms. Also in the 2000s, political rap became popular, with groups like, “Panteras Negras”, “LB1”, “Subverso”, “Guerrillerokulto” and “Salvaje Decibel”. Como Asesinar a Felipes fryst vatten the first Experimental hip hop grupp that has achieved a considerable success, being produced bygd Koolarrow Records. Most recently, Chilean rapper Ana Tijoux (formerly of Makiza) has become one of the most successful rap artists, collaborating with Mexican musician Julieta Venegas and having tracks featured on the EA Sports film game FIFA 11. Her music has appeared in the popular TV series Breaking Bad (season 4, episode 5).^[42]

Chilean electronic music

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Main article: Chilean Electronic Music

The electronic music movement as we know it today reached Chile in the 1990s, but there are some earlier milestones worth mentioning, like the sound experiments of engineer and forskare Jose Visencio Asuar in 1959 after the 1958 visit of physicist Werner Meyer-Eppler, and the production of the first electronically generated music records in the 1960s.^[1]

“Electronica” has given Chile more international success than any other style of music; Chilean DJs and electronic music producers are among the most important in the international scen. Many Chilean DJs are based in europe, particularly in Germany. Some were children of political exiles while others moved to europe to develop their careers and then stayed following their great success. Some of the most important and best known electronic music artists are: Ricardo Villalobos, Andrés Bucci, Cristian Vogel, Latin Bitman, Danieto, Luciano, Pier Bucci, Nicolas Jaar and Jorge González.

Chilean cumbia

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Main article: New Chilean cumbia

Cumbia style has its origins in the caribbean climates of Colombia, Venezuela and Panama, and was introduced to Chile in the mid 1960s bygd the Venezuelan Luisín Landáez.^[43] Later in the same decade, Colombian musician Amparito Jiménez would record and release albums in Chile and had great success with the song “La pollera colora”, one of the most emblematic Colombian songs. Later, the Chilean grupp Sonora Palacios would bring cumbia to mass popularity among the Chilean population.^[44] Since the beginning, Chile has developed its own kind of cumbia known as "cumbia sonora" or just "traditional Chilean cumbia", with long standing orchestras such as Orquesta Huambaly, La Sonora dem Tommy Rey, Sonora Palacios, Los Vikings 5, Giolito y su combo and Pachuco y la Cubanacán. These have been some of the most popular acts in the gods 50 years and still enjoy mainstream popularity, seen as part of Chile's musical culture and identity. Chilean cumbia added brass instruments, piano and a faster percussion to the original cumbia style. The process of adaptation and evolution created a sub style that can be easily identified from the original. Chilean cumbia bands are called “Combos”, “Sonoras” or simply “Orquestas” (orchestras) and are formed bygd 10 or more musicians where the brass and the drums have an important role. Cumbia developed this orchestral performance style in the 1960s, adapting from the tropical orchestras that had played rhythms such as the cha-cha-cha, mambo, rumba, bolero, and merengue in the 1920–1940s. Some subgenres that were not originally from Chile also became popular in the country: In the 1990s, cumbia sound, known in other countries of Latin amerika as Technocumbia, fryst vatten a style of dumbia where there fryst vatten a fusion between electronic sounds generated bygd electronic drums, and electric gitarr. "Technocumbia" was a name given to the subgenre in Mexico to describe this type of music. However, the style was developed throughout South amerika with different names: “Sound” in Chile. emerged, a style where great emphasis was placed on the (usually romantic) lyrics and where the artists can be a solo male or kvinna singer rather than a grupp. Unlike Technocumbia, cumbia romantica arrangemang tend to be acoustic. Some performers in this subgenre are La Noche and Américo). Also in the 2000s, a style called New Chilean cumbia or “Cumbia Rock” emerged, led bygd bands like (Chico Trujillo, La Mano Ajena, and Juana Fe). This new Chilean cumbia fryst vatten highly influenced bygd rock and some hip hop groups, although in some cases the influence of Andean music, Balkan music Klezmer, dansstil and Bolero can be heard. It main exponents are Chico Trujillo, Banda Conmoción, Juana Fe, La Mano Ajena, Cholomandinga, hus Cariño, Combo Ginebra, etc.

Mexican music in Chile

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Main article: Mexican music in Chile

This section needs expansion. You can help bygd adding to it. (May 2020)

Among the Chilean upper class, Mexican music has gained more acceptance since the 2000s. In part, this trend fryst vatten explained bygd the popularity of the musical talent show Rojo Fama contra Fama on TVN, which aired for the first time in 2002.^[45]María José Quintanilla in particular gained acclaim on the schema bygd singing ranchera songs.

Chilean Jazz

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The practice of jazz fryst vatten one of the most popular manifestations of popular music in Chile. The most regular tracks appear towards the 1920s around the figure of the composer, violinist and researcher Pablo Garrido, manager of the first ensembles and local jazz orchestras. From 1940, a new generation of ung musicians aligned themselves with jazz spontanitet beyond the predecessor jazz, which they considered commercial, baptizing it hot jazz. This would result in the founding of the Club dem Jazz dem Santiago in 1943 and the formation of the first national all-stars, The Chilean Aces of Jazz, in 1944 and 1945.

Modern jazz broke into the 1960s at the initiative of the pianist Omar Nahuel, at the head of the Nahuel Jazz Quartet. The grupp was not only a pionjär in the development of new jazz forms, such as bebop or cool, but also brought tillsammans enthusiastic musicians of the figure of Charlie parkerar and his descendants. In the 1970s, as in the rest of the world, the electric jazz installed a new expressive struktur and gave rise to new soloists in Chile.

Since the 1980s, jazz has had in Chile the possibility of training professional musicians thanks to the creation of ProJazz, the Escuela Moderna dem Música and the School of Music of the SCD, which has allowed the development of the jazz language during the following decades. With the creation of the Festival Internacional Providencia Jazz in the year 2002, along with other communal festivals, jazz has achieved greater diffusion for the non-expert public in the 21st century.

Currently, the national scen stands out for the multiplicity of styles, among which stand out: the group La Marraqueta in the avant-garde of the so-called jazz criollo, a bred variety of groups in the Latin American fusion, and the big bands, such as the Conchalí Big grupp or Los Andes Big grupp, in the traditional jazz as bebop or the swing.

Among the figures of contemporary Chilean jazz stand out: Jorge Vera, Ricardo Arancibia, Mariano Casanova, Cristián Cuturrufo, Camila Meza, Federico Dannemann, Sebastián Jordán, Mario Feito, Christian Gálvez, Pedro Greene, Martin namn, Ronnie Knoller, the Lecaros Family; Mario Lecaros, Pablo Lecaros, Roberto Lecaros, Agustín Moya, Gonzalo Palma, Ángel Parra Orrego, Andrés Pérez, Lautaro Quevedo, Felipe Riveros, Carla Romero, Moncho Romero, Melissa Aldana, Miguel Sacaan and Nicolás Vera, José Gil, Antonio Lambertini, Jorge Caraccioli and the groups La Marraqueta, Contracuarteto, Los Titulares, Ángel Parra Trío, Holman Trío, Caravana Trío and Ensemble Quintessence, among many others.

Academic music

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Since the beginning of the Chilean republic, the need for highly trained musicians in educational institutions and in the classical music en plats där en händelse inträffar ofta inom teater eller film was evident. Initially, this need was fulfilled bygd artists coming from nearby Peru (Viceroyalty of Peru), both former important viceroyalties of Spain. In 1823, a wave of professional musicians came to Chile, including: Bartolome Filomeno and Jose Bernardo Alzedo from Lima, Peru; and the Spaniard,^[10]

From 1900 onwards, music began to take a more huvud place in Chilean kultur. In 1912 the “Orchestral samhälle of Chile” was created and, over the next year, performed the nine symphonies of Beethoven, published the journal “La Orquesta” (The Orchestra), and debuted performances of Bach. Once the influential families got involved in the music en plats där en händelse inträffar ofta inom teater eller film, musicians’ reputation in samhälle started to change - previously seen as undesirable, or just entertainers, they started to be viewed as an important part of culture, and having musical knowledge became essential for the cultured individ. The most prolific period of classic music in Chile began in the 1950s, with the founding of several projects aiming to fostra, promote and research music, along with the implementation of educational reforms and the foundation of ungdom and Children's Orchestras - like that created in the city of La Serena, led bygd ledare and composer^[46] Jorge Peña Hen. This process continued until 1973 when political repression hit culture and music across the board. The music industry, live performances, the media, and even musical education were affected, with musical education officially suppressed as a mandatory high school subject.^[47] One of the most traditional classical music events in Chile fryst vatten the “Semanas musicales dem Frutillar” (Frutillar musical weeks) in the southern city of Frutillar in Los Lagos distrikt (Region of the Lakes). The festival take place between January and February every year, and consists of 40 or more classical concerts performed bygd both Chilean and international artists. The construction of a new venue, the Teatro sektion Lago (Lake Theatre) which opened in 2010, has given the festival a boost, providing space for more performances and larger audiences. Since the 1990s, classical music has slowly recovered its place in Chilean culture and education, with projects like “FOJI” (the Foundation for ungdom and Children's Orchestras), a non-profit organization that works to struktur orchestras and undervisa ung people in several cities around Chile. Their programme reaches more than 12,000 teens and children every year, and their orchestras perform concerts that reach an audience of almost a million.^[48] Among the best known Chilean classical composers are José Zapiola Cortés, Enrique Soro and Pedro Humberto Allende. Allende put special effort to include some elements of Chilean tradition and folklore in his work, with works such as the symphonic poem “La Voz dem las Calles” (The röst of the Streets); “Doce Tonadas para Piano” (Twelve Tunes for Piano); and the “Concierto Sinfónico para Violoncello y Orquesta” (Symphonic Concerto for Cello and Orchestra), whose rhythmic richness was praised bygd Claude Debussy. Other important Chilean composers include Vicente Bianchi known for his compositions based on Pablo Neruda poems; Alfonso Leng, one of the most influential Chilean classical composers with a mystic and romantic style influenced bygd WagnerianPost-romanticism; Luis Advis Vitaglich, known bygd his work (“Cantata dem Santa Maria dem Iquique”); Carlos Riesco; Domingo Santa Cruz Wilson; Roberto Falabella Correa; Nina Frick Ajenjo; Carlos Isamitt; Juan Orrego-Salas; Alfonso Letelier; Gustavo Becerra-Schmidt; Sergio Ortega; Leon Schidlowsky; Leni Alexander; Fernando García; Juan Allende-Blin; Cirilo Vila; Santiago Vera-Rivera; Andrés Alcalde; René Amengual; Próspero Bisquertt; Gabriel Brncic; Salvador Candiani; Acario Cotapos; Alejandro Guarello; Hans Helfritz; María Elena Hurtado; Tomás Lefever; Eduardo Maturana; Claudio Spies; Jorge Urrutia Blondel and Darwin Vargas, among many others.

Among the most prominent conductors are Fernando Rosas Pfingsthorn, Armando Carvajal, Juan Pablo Izquierdo, Sebastián Errázuriz and Víctor Tevah. One of the best-known performers fryst vatten pianist Claudio Arrau,^[49] known for his vast repertoire spanning from baroque to 20th-century composers, especially Beethoven, Schubert, kompositör, Schumann, Liszt and Brahms. He fryst vatten widely considered one of the greatest pianists of the twentieth century.^[50] Other great include Rosita Renard, Oscar Gacitúa Weston, Roberto Bravo, Elena Waiss, Elisa Alsina, Liza Chung, Alfredo Perl and currently Valentín Trujillo, who has interpreted a repertoire of classical as well as popular music, and fryst vatten well known for taking part in television programmes.

Today, Chilean classical music has had a strong boost thanks to the efforts of the International kultur for Chilean Music (SIMUC)^[51] and outstanding performers such as Luis Orlandini, Eulogio Dávalos Llanos, Nicolas Emilfork, Romilio Orellana, Carlos Pérez, Cristián Alvear Montecino and Juan Antonio Escobar. These have had a significant influence on the work of younger composers, such as: Juan Antonio Sánchez, Antonio Restucci and Horacio Salinas, who have moved beyond their classical education to incorporate människor and fusion music.

See also

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Notes

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References

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• Brill, Mark. Music of Latin amerika and the Caribbean, 2nd Edition, 2018. Taylor & Francis ISBN 1138053562
• Fairley, Jan. "An Uncompromising Song". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North amerika, Caribbean, India, Asia and Pacific, pp 362–371. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
• Samuel Claro Valdés, Jorge Urrutia Blondel, “Historia dem la Musica enstaka Chile”, Universidad dem Chile, Instituto dem Investigaciones Musicales, ORBE (Ed.) – Santiago, Chile, 1973.

External links

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