![]() ![]() The Creole industry began to evolve, are the arrangers and singers are not necessarily those that compose the songs. This new generation of the 20s was adapted to musical tastes then fusing the Creole music with other rhythms but without losing the essence of Peru. These foreign rhythms eventually displaced the Creole music The industrial period of Creole music is accompanied by the mass of the phonograph, and the advent of the phonograph brought to Peru foreign rhythms like tango and foxtrot. At this time it is known as the Old Guard, and his compositions had no scores so they were not recorded and many of the authors were lost in anonymity. The musical production in the early twentieth century was very intense and composers were mostly people from neighborhoods that were characterized by a particular style for each neighborhood. With the Republican era is born Creole music influenced by the French of the minuet, the waltz Viennese, the Polish Masurca, Spanish jota and mestizo expressions of the central coast. The preferred instruments during this period were the guitars, organs, clavelines, harps, fiddles, harps and pianos, Peru manufactured these instruments and also were exports to Guayaquil and Guatemala, in the case of the guitar, and Santiago de Chile, in the case of the salterios. These were changing tastes and preferences for European musical rhythms and operas displaced the national rhythms in Peruvian cities. In turn Peruvian musicals had the predilection of Peruvians. After independence the Peruvians showed great fondness for local rhythms, preferring national musicians, during 18 were fashionable some tunes musician José Bernardo Alcedo (author of the national anthem of Peru). The most important cathedrals counted with their own orchestras, hired musicians other churches for their festivals and processions. The churches concentrated a lot on both religious and secular music. ![]() Upon Peru’s Independence, mostly Spanish music has been preserved. Because of the ban, foreign teachers of non-Afro descent became more popular in Peru. By the late eighteenth century, dance teachers were mostly black, but in 1790 this activity was banned because they were accused of inventing and modifying original dance steps. During the government of Viceroy Abascal, Italian opera was very popular in Lima. The rhythms that were fashionable in the late eighteenth and early nineteenth centuries were the major yaravíes, cascabelillos, Cachúas and Negritos.īoth the colony and during the beginning of the Republican era, people made no distinction between sacred and profane music. Musical diversity was well documented during the last years of the colonial times, and its tunes embodied many instruments such as panpipes, trumpets, guitars, marimbas, and quijadas (jaws). Attached to these styles of dance are different interpretation with African rhythms of early Creole music. Hanac Pachap is the first work of American choral polyphony.ĭance during colonial times in Peru had a strong Austrian influence with Flemish, Italian and German influence and the second Bourbon influence with French models. ![]() In Cusco, Hanac Pachap, a religious Christian hymn, can be traced back in with lyrics in Quechua and was composed by Father Juan Perez Bocanegra. One of the first European rhythms to merge with the folklore of the African population is orchestrated by the priest Juan de Araujo in the carol The Negritos,which includes a particular style of Spanish spoken by black communities. With the conquest and later colonial era, the Peruvian territory is influenced by European and later Afro-Peruvian music. Of the latter variety, there are the pinkillo, tarka, and quena flutes. Of the former variety, there are the siku (or zampoña) and antara. Wind Instruments: In addition to the ocarina and wakrapuku, there are two basic types of Peruvian wind instruments, the panpipes and flutes, both of native Andean origin. For example, of European origin is the bombo bass drum, and of Andean origin are the wankara and tinya respectively. The rhythms played on them are often African influenced some percussive instruments are of non-African origin. Variants include the walaycho, chillador, chinlili, and the larger and lower-tuned charangon.Ĭajón: The cajón is a percussion instrument developed by African slaves. After the revolution in 1959, which was built upon the Indigenismo movement, the charango was popularized among other performers. In the Canas and Titicaca regions, the charango is used in courtship rituals. It was invented during the Viceroyalty of Peru by musicians imitating the Spanish vihuela. Charango: Peruvian music is dominated by the national instrument, the charango. ![]()
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