EVOLUTION OF MUSIC IN PERU which in Peru also has a smaller variant, known as

the charango and the mandolin . There are

The music of Peru is a fusion of sounds and styles thousands of dances of pre-Hispanic and mestizo
drawn from the Peruvian Andes, with a bit of origin. The central, northern and southern
Spanish sounds, and some African roots. mountains of the Andes are famous for preserving
Combining sounds, respecting harmonies, the traditional rhythms of the huayño and the
melodies and rhythms is music. Pasacalle .
These represent the different cultures found in the
Peru, a country with a musical tradition, has a mountains of this country and those currently in
variety of expressions with the most beautiful force.
nuances. But this comes from a long time ago,
when the first cultures were formed. To understand What do we call sound?
how it developed we will go back to its beginnings.
Sound is a product of the movement or vibration of
Before the Viceroyalty of Peru, a large part of the matter, sound alone does not exist. Every body or
Peruvian territory constituted the Inca matter that is in motion, that is, it has vital energy,
Tahuantinsuyo, which united several of the oldest that is, it is alive, is vibrating. The vibrations of any
cultures such as: Chavín, Paracas, Moche, Chimú, material object, in turn, make the particles of the
Nazca and others. air that reach our ears and our entire body move or
vibrate.
The ancient settlers of the Nazca culture were the Human beings identify those air vibrations that
most important pre-Columbian musicians on the impact our ears as sounds. So, all vibration
continent, using various diatonic and chromatic produces what we identify as sound waves,
scales in their ceramic antaras , unlike the 5 notes transmitted through the air; That is why in an
of the Inca melodies. empty environment (empty chamber) without air,
sound is not transmitted.

What is music?

Music is the art of sensitively and logically

organizing a coherent combination of sounds and
silences, respecting the fundamental principles of
melody , harmony and rhythm , through the
intervention of complex psycho-animal processes.

After the Viceroyalty, hundreds of years of cultural The concept of music has been evolving since its
mixing have created a broad musical landscape origin in Ancient Greece , when poetry, music and
throughout Peru . Typical instruments used are, for dance were brought together without distinction as
example, the quena and the antara or zampoña , a unitary art. For several decades now, the
the Afro-Peruvian cajon and the traditional guitar, definition of what music is and what it is not has
become more complex, since prominent
composers, within the framework of various
frontier artistic experiences, have created works
that, although they could be considered musical,
expand the limits of the definition of this art.

Music, like any artistic manifestation , is a cultural

Pre-Inca music was an expression of the
product with multiple purposes, among others, to
emotional state of the people, closely linked to
provoke an aesthetic experience in the listener, to
their rituals and important events, such as death,
express feelings , emotions , circumstances,
worship of their gods and in general to religion; of
thoughts or ideas , and increasingly, to fulfill a
course always accompanied by dance.
important therapeutic function through music
therapy .
In the Nazca culture, vestiges of musical
instruments have been found, such as ceramic
Likewise, music in Peru evolved according to the
antaras that had up to 11 different notes, also
era in which Peru was located, from the Inca
quenas, drums and bass drums, decorated by the
Empire, the conquest of the Spanish, to the
brilliant Nazca artists.
present, which we will discuss one by one later.

Already in Tahuantinsuyo , the Incas took music

as an important part of daily life, enjoying an
important role in Inca society, there was war,
agricultural, loving and funeral music. At the time
of "Tahuantinsuyo", music was more than anything
representative and the Indians recounted events of
war, love, funeral or agricultural events through
songs very similar to prayers. Inca music was also
characterized by being "pentatonic" and by using
mostly wind instruments, which will be discussed
MUSIC IN THE INCA EMPIRE
in more detail in the following paragraphs.
This is demonstrated by the archaeological by the five-stringed lyres of Abyssinia and
remains of musical instruments in which you can by the Kisar of Ethiopia; while the other
see: - the great technological development for the route passed through Oceania , indicated
production of instruments with a variety of by the guitar of the Malays and by the Pan
materials: clay, gold, silver, copper, wood, cane, flutes of the Polynesians, arriving in the
bones, feathers, seeds, pumpkins , etc. - the form of "antaras" to the Andean-American
knowledge that its manufacturers had about region.
acoustics to achieve the required sounds, timbres
and desired notes. - the achievement and b. Most instruments were made of clay, bone
achievement of precise tunings for said and/or wood . The Inca used the quena (a
instruments; It has been proven that the tunings vertical flute) which was made with cane,
were achieved not by chance but by a precise the antara (panpipes which were made of
search for this or that sonority (timbre) and tuning bone from a camelid or something similar)
(height of the sounds) - the instruments and the pinkullo (a type of ocarina). These
demonstrate that there were diverse musical instruments can play melodies, but the
systems and that they used different scale material Inca do not know polyphony. Polyphony is
- no It is true that pre-Hispanic music was music with two or more independent
pentatonic – archaeological instruments show the melodies that sound together. To hear the
opposite: a variety of different scales were used. - effect of music, all instruments are
the important social function that musical needed. The cooperation that music
instruments fulfilled as part of sociocultural reflected can be seen in many aspects of
manifestations: integrally; as seen in other images everyday life.
that the ancient Peruvians captured in a variety of
objects. c. Music had secular, religious and warrior
objectives . The first two with lyrics and
Here are some general characteristics of Inca spiritual tones.
music:

d. The music was essentially popular and

a. Inca music was "pentaphonic", because
had multiple expressions, manifesting
five musical notes dominated, without
itself especially in dance. This constitutes
intermediate tones (do, re, fa, sol, la). One
this extremely sentimental, melancholic
of the fundamental elements of Inca music
and monotonous art .
was undoubtedly the pentatonic scale ,
which ignores half tones. The origin of this
Inca musical instruments
modality is clearly Asian. Its diffusion can
be followed through the special
Aerophones: In this group are instruments that
instruments that interpret it. Their route
work by "blowing" which produces a vibration that
from the great plateaus of Central Asia
becomes sound. Instruments such as the quena,
followed two directions marked on the one
the flute, the pincullo, the antara, the quepa or the
hand by the bamboo mandolins of Africa ,
pututo. Each of them has a function either to want
to express sadness or to give others some sign of
war.

Types of music Inca

In general, there were various musical

Membranophones: It can be said that these
manifestations in Tawantinsuyu: religious or ritual
instruments are what are now called percussion
songs, warrior songs and popular music.
instruments, that is, drums, which were built with
As in all countries, also in the Inca empire, the
animal skin. It is also known that bones were used
people prayed, worked and loved singing.
to beat these drums.
In religious festivals, singing and dancing were not
only the privilege of priests. It was the entire
people who expressed their faith through the
sacred "Jailli", revering their gods in the Intip-
Raymi festivals or in the Kusi-Raymi festival,
asking for or thanking the greenness of the
cornfields, the rains and the good harvests.
Singing and dancing were essential elements in
their rites for celebrations, implorations and
thanksgiving.

Tinya and Huáncar

Idiophones : Instruments used by the Incas to
mark the beat of the dances performed at that
time. Examples; Sacchas and Rattles.
The jailli: The expression of the music that
accompanied rural work was rhythmic, rhythmic
and happy. They sang when they prepared the
land , when they sowed the seed, when they
collected the fruits of their efforts. On those
occasions the "Jaillí" were true songs of triumph of
work , perseverance and faith, as are the sacred both the placidity of the plains and the stormy
hymns of humanity that always express the majesty of the mountains. The mysterious telluric
feelings related to life and the gods. They were force that united the Inca man with the earth is
songs of hope and gratitude addressed to the present in it.
creator.
Other songs "Jailli" were sung by the Incas during The wayña: The "Wayña" was the collective sung
times of war . In them they evoked the bravery and dance; Several couples of both sexes, joining
wisdom of their leaders, and after the victory they hands and facing each other, sang the simple
sang of the triumph and exploits of the warriors melody and moved at a markedly slow pace.
and the defeat of the enemy.

The arawi: The lyrical, loving music was different.

His verses were melodies, his songs the "arawi" of
supplicating love or the "Jaray arawi" of suffering
love or the song of the beauty of the beloved "Kusi
arawi". When they sang the joy of life in their
"Sumaj arawi", or the grace of their beloved in
"Warijsa arawi", in their melodies there was the
eternal accent of desire and a soft and delicate Inca or indigenous music uses percussion and
harmonious joy. wind instruments. Percussion instruments
represent symbols of nature, while wind
instruments are symbols of heaven. So, the
instruments of the Inca represent the balance of
the Mother Earth and natural wonders. They
express a deep feeling and give messages of
divine splendor. Indigenous music was played on
special occasions such as festivals, ceremonies,
rituals, life, death , and marriage. There was music
The wakaki: Another kind of music was the one
to pray for a good harvest, when a house was
that accompanied the "Wa-waki" verses. It was a
built, when animals were sold, and during funerals.
happy, playful, courteous song. It was sung mainly
All music is an essential element of the indigenous
during the time of maturation of the plants , when
community .
the youth had to take care of the cement factories.
Also, music provides stability in the town. Music is
To the sound of these songs they spent the nights
a connection between the past and the present. It
singing these musical dialogues.
is part of the tradition that was passed on to the
next generation. Each person plays their own
The wayñu: The expression of lyrical music was
instrument, but no one is indispensable. There was
the "Wayñú", known today as the "huayñu", which
never competition between the members, the only
brought together the three artistic forms of
thing about music was to teach, learn, pray,
expression: poetry , music and dance at the same
celebrate, and express.
time. It was the interpretation of nature. It captured
The Incas accompanied all the songs and dances
with their musical instruments.
They knew three types: the "idiophones" or
shaking instruments; the "aerophones" or wind
instruments and the "membranophones" or
percussion instruments.
The simplest shaking instrument consisted of
some animal bladder containing small stones. The
chroniclers mention "nets with bells full of
pebbles." There were also large metal cowbells
and that "when playing any of these things or
instruments and sayings, then the demons came."
According to Bernabé Cobo, multiple rattles were MUSIC IN THE VICEROYALTY
placed in the throat, mainly on the arms and on the
feet. They were a string of bells that they made in In the middle of the 16th century, the first
different ways. Initially they used bean shells, the teachings of religious music to the Indians began.
chronicler indicates, large colored chickpeas, It is at this time that the Indians adopt a whole new
which are found in the provinces of the Andes, and foreign culture, in this case Spanish, by beginning
they called these bells "Zacapa." They also made to practice the music taught by them, generally for
copper cowbells and. of silver, which they called the churches.
"Chanrara". The most common were the "Churu"
made from snails. These instruments probably It was necessary to make music to accompany
originated in the coastal region of the Chimú. ecclesiastical ceremonies, for this they had to have
the necessary instruments, and since it was
impractical to bring the instruments from Europe,
they began to be built here.

This is how the indigenous people began to build

organs with the help of the Spanish, who taught
them how to make them, thus creating a School of
Organ Building in Cuzco.
But the instruments used in this period were not
.
only of Spanish origin, but also over time Andean
instruments such as the panpipe among others
were included.
 These ceremonies were an indirect way of bringing
the Indians closer to the new religious values,
symbols and images that the church intended to
instill in them.

In 1598, Antonio Ricardo published “Symbolo

Católico Indiano” in which the Creole Priest of
Huamanga, Gerónimo de Oré, records in the
Spanish and Quechua languages seven songs
that the Indians sang in their daily life.
From this, religious compositions in vernacular
languages were common throughout America.

“Indian Catholic Symbol”

This type of music is much more reflected in the

In this composition, metaphors about love and
different religious ceremonies of this time in Peru.
nature are found, giving a higher degree of
With the catechization of the Runakuna (Quechua
importance to the feelings of the indigenous
term for men), the church had followers to teach
culture of the time, being shown in a very beautiful
this art. This helped to make the arrival of each
way by the author.
viceroy more enjoyable, since it was always
This is how the Hanac Pachap, of which we will
celebrated with the expenditure of music cars and
talk later, became a culminating symbol of the
ornate sets, taking it as a festivity.
process of approximation between the two facets
of the musical culture of Peru.
In the year 1553, the Corpus Christi festival began
to be celebrated in the city of Lima with the
accompaniment of festive dance and music.
This celebration was intended to proclaim and
increase the faith of the Catholic Church in the
indigenous populations of Peru.
 singing, since being on a new continent for them
made them feel alone. When the viceroys arrived
at court they played music, this generated
entertainment for the vice sovereign and his
people.

Tomas de Torrejón y Velasco was the author of

several cantatas and sung masses, thus becoming
a very famous person in the viceroyalty, all thanks
to the musicalization of “La Purpura de la Rosa” by
the famous writer Pedro Calderón de la Barca,
which was premiered in the Kings in 1701. His
Likewise, following the notable events offered by
great compositions were heard in Cuzco, Charcas
the king of Spain or his viceroys such as
and Guatemala.
processions, funerals or festivities of different
saints; music would have a significant place. The
instruments before the invasion were
characterized by being wind and percussion ,
such as the quena, the antara or the tinya. After
the occupation, the native Peruvians learned to
make string instruments.

Tomas de Torrejón and Velasco

With the arrival of the Spanish the music was

transformed, a more melancholic air was
distinguished due to the pain of the conquest, they
used their melodies to transmit this sadness. As
the Spanish established towns and built churches,
musicians had an important place, influencing their Likewise, upon the arrival of the House of

Spanish culture. During the marches over the Bourbon, the musical preferences of the Spanish

Andes, the Peruvians found company in music and nobility were directed towards Italian pieces. Thus,
the Viceroy Marquis of Castell dos Rius sponsored folklore in one of his compositions “Los Negritos”,
the musician Roque Ceruti, who spread the Italian in which he introduced a funny way of talking
operatic form and the new harmonic style of the about Afro-Peruvians. This composer practiced the
violin, adapting novel baroque techniques to the musical profession in Panama, Guatemala, and
preferences of the Lima public, but without leaving Cuzco where he was a Chapel teacher.
aside his original style.

In the first half of the 18th century, in Cuzco, the

most outstanding teachers were Ignacio Quispe
The disciple of Tomas de Torrejón, master of the and Fray Esteban Ponce de León, this first
chapel of the cathedral of Lima, who had inherited composer famous for the cantata “Ah Señores los
contrapuntal skills from Maestro Villarobledo and del buenos gusto” in which he mocked the rules of
Italianate forms from Roque Ceruti. Orejón y music. Ponce de León, who premiered an opera-
Aparicio composed cantatas like “Ah del Gozo” to serenade titled “Come deities”, which in an ironic
dedicate them to the Virgin Mary. way the rivalries between the cities of Arequipa
and Cuzco.

“Ah, gentlemen, those of good taste” - Ignacio

Quispe

“Ah of Joy” – Orejón and Aparicio

Likewise, one of his students Cristóbal Romero,

who was also religious, was a famous
disseminator of the style of the Huachano
musician. On the other hand, the Spanish priest
Juan de Araujo obtained great success when he
combined cultured music with the humor of black Fray Esteban Ponce de León
 The dances were linked to the Austrian and
Bourbon period, at the beginning of the period the
flamenco, German and Italian influence that
emerged were combined between different foreign
dances with primitive Creole music and African
rhythms.
The court of the viceroys was important in instilling
European dance in Peru. Palace etiquette was
regulated for receptions and especially for balls by
Count Nieva.

“Come deities” At the end of the 16th century, the “totarque”, the

Furthermore, music in the Viceroyalty also served “puertorrico”, the “chacona”, the “valona”, the

in the evangelization of the Indians. A good “churumba” and the “ballarda” were already

example is Hanac Pachap, an anonymous piece danced. In the 17th century, members of the

with lyrics in Quechua. This composition emerged Spanish Republic danced the “Pavana”, the

at the beginning of the 17th century, being one of “Alemanda”, the “cadeneta”, the “zarabanda” and

the most representative works of Andean music in the “courante”. These dance genres were

the viceroyalty and was set to music by the combined with the rhythms already mentioned.

Franciscan Juan Pérez Bocanegra, which was During that time the German-Flemish-Italian

published in Lima in 1631. Hanac-Pachap is one of influence was already felt.

the first compositions that brings together two

musical trends, such as the pentaphonic influence
with the Renaissance composition style. It has
been thought that the origin of said work was
composed by an Indian; However, Pérez
Bocanegra, Priest of Andahuaylillas, claims
authorship of the lyrics but it is likely that he was
the author of the music.
“Pavender”

“German”

Hanac-Pachap
In the 18th century, the change of dynasty
imposed itself on French fashion, thus appearing
the “minuet” and the “gavotte”. Likewise, the
“Zapateado”, which can be named as a precursor
to the “zamacueca” and the recent “Marinera”.

Another important topic within the cultural aspect

MUSIC IN THE REPUBLICAN PERIOD AND IN
in the viceroyalty was dances. These were
THE 20TH CENTURY
probably of Spanish origin in the early years but
they must have adopted characteristics of Indians,
mestizos, mulattos and blacks that gave them that
particularity that makes them recognizable in our
history.

At the time of the republic, at the beginning of the

19th century, after having achieved its
independence, Peru remained a country with
hopes and desire to establish itself as a free state.
The Peruvians at this time found themselves with
an imprecise territory and without cultural or racial
unity. In this way, composers are inspired to
compose songs that refer to the freedom and
victory of the Peruvians. In this way, once
independence was signed, San Martín decided to
call all composers to a competition to develop what
would later become our national anthem.
“The composer of the music of the National
Anthem of Peru is maestro José Bernardo Alcedo.
The national anthem was presented in 1821. Since
then, several versions (some distorted and was inherited from the viceroyalty. This is what
adulterated) of the national anthem had circulated, throughout the history of Peru will never change
which were only played by some military bands of and that was inherited from the Spanish, as well as
that time. Christianity.
“The use of music in churches was a widespread
custom in the viceroyalty and continued in the
republic. In Lima, musical schools operated in the
convents of La Merced, San Agustino and Santo
Domingo. In the churches is where colonial habits
will be most strongly manifested” (Bolaños and
others).
In addition to these genres, at this time waltzes,
boleros and pasodobles were heard, which were
considered fashionable music in the 19th century.
For which the Peruvian Government, through a
Throughout the Peruvian Andes, in each town,
commission appointed by the Ministry of
there is a great variety of songs and dances. The
Government, on April 14, 1900, agreed: "That it is
music resembles the way of thinking and feeling of
necessary to put an end to the capricious
the people of Lima, which is fundamental in all the
alterations made to the national song, so that it is
meetings or "jaranas" in houses, alleys and lots of
preserved as it was." arranged by its author". “This
Lima, specifically in the Center of Lima and in the
commission officially incorporates Maestro
Barrios Altos.
Rebagliati’s version.”

José Bernardo Alcedo was considered in the 19th

century the best composer of this time. In addition
to having created the national anthem, he was a
creator of religious music and Christmas carols. In
the national library of Lima there are around 40
manuscripts made by him. Alcedo reaffirms the “Gaby Zevallos. “Bolerista”
feeling of all Peruvians, creating justice with letters
of liberation and a lot of exaltation of national “The Lima aristocracy, taking refuge in theater and
values. This is manifested not only in the anthem, salons, dedicates itself to an active musical life.
but also in purely instrumental music like La “Concerts were a meeting place and a place to
Araucana. Alcedo not only created this type of show off, mainly for philharmonic societies whose
music, but also created more popular rhythms functions included auditions, dances and meals.”
such as chicha and Cora. (Bolaños and others).
On the other hand, after Bolognesi's resignation in Finally, it is worth highlighting the great composers
1823, even in Peru social differences between of this era such as: Víctor Cordero Gonzales, José
Peruvians were marked. At this time the only Bernardo Alcedo and Claudio Rebagliati. In the
music everyone listened to was church music. The middle of this century, foreign composers such as
music that was played in the churches and that
Carlo Enrico Pasta, Francesco Francia, Antonio period the self-proclaimed "cultured" public
Neumane, Benedeto Vincenti, etc. also arrived. showed contempt for national music. This
attachment to European music was not due to the
absence of local musicians (as there were many in
the popular classes), but rather due to a question
of prestige. In addition to Rossini, the works of
Donizetti and Verdi overshadowed Peruvian music
among the elites and middle classes.

With the Republican era, Creole music was born,

“Victor Cordero Gonzales”
influenced by the Frenchization of the minuet, the
Viennese waltz, the Polish masurca, the Spanish
It is necessary to consider that some of these
jota and the mestizo expressions of the central
remain in the country creating philharmonic
coast. Musical production at the beginning of the
societies. In this way, Peruvian composers
20th century was very intense and the composers
revealed their feelings through music.
were mostly people from the neighborhoods who
were characterized by having a particular style for
The preferred instruments during this period were
each neighborhood. This era is known as the Old
guitars, organs, carnations, psalteries, vihuelas,
Guard, and their compositions did not have scores,
harps and pianos; Peru manufactured these
which is why they were not recorded and many of
instruments and exports to Guayaquil and
their authors were lost in anonymity.
Guatemala are even documented, in the case of
guitars; and Santiago de Chile, in the case of the
During the 20th century, there were various
psalters.
musical genres, such as the waltz, the polka, the
tondero, the boleros and the marinera, all of which
are considered part of the Creole culture of Peru in
the 20th century. But it was the waltz, a genre from
Spain, that had a great reception since its
introduction in Peru at the end of the 19th century
“Psaltery and piano” until the 1920s and was mostly called “Old Guard.”
During this time, there was not much
dissemination by the artists, since the artists
themselves exhibited their creations directly with
the public.

The industrial period of Creole music is

accompanied by the massification of the
Musical tastes in European music turned towards phonograph, this was a slow process; But also the
Rossini, who became the preferred composer arrival of the phonograph brought with it the entry
during the 1940s of the 19th century. During this
into Peru of foreign rhythms such as Tango and Added to this is the beginning of radio
Fox-trot. broadcasting in Peru in 1935, with this Creole
music is no longer exclusive to the popular sectors
and a Creole feeling emerges that begins to be
seen in Lima as national.

In 1944, Creole Song Day was institutionalized.

Years later, President Odría invited the Creole
troubadours to the Government Palace.
According to Llorens (1983), the background to
"Phonograph" this was that the middle and upper classes looked
These foreign rhythms at some point displaced for a point to legitimize their Peruvianness in
Creole music, evident in the lyrics of some waltzes contrast to the migration from the Andean area to
that said: you should not learn that modern style in the city; these groups did not accept the Andean
reference to tango and fox-trot, ancient composers as a national symbol.
resisted change and had become traditionalists;
This was maintained until the arrival of new values During this time, Eduardo Montes and Cesar
in the 1920s, among which Felipe Pinglo, Pablo Augusto Manrique recorded what they consider
Casas, Alcides Carreño among others stood out. It the first legacy of Creole music, which was
is said that Pinglo became known in his musical recorded by the company “Columbus Phonografy
beginnings as a fox-trot performer, which gave him & Company”. In these first decades of the 20th
the ease to later enter musical tastes with Creole century, the Creole waltz became very popular,
music. This new generation of the 1920s adapted especially in popular neighborhoods, and it was
to the musical tastes of that time, fusing Creole not until after the first half of the 20th century that it
music with other rhythms but without losing the gained its true value as Creole music, which was
Peruvian essence. accepted by all social classes. .

“Felipe Pinglo”

“Montes and Manrique”

The Creole industry began to evolve, the functions
in the Creole groups were separated, arrangers But it was the creative duo Montes and Manrique,
appeared and the singers were no longer fathers of criollismo, the first Peruvians to make
necessarily the ones who composed the songs. commercial recordings. In 1911 they left for New
York, hired by Columbia Phonograph & Company Another important moment is the founding in 1924
to make more than a hundred recordings, which of the Peruvian Broadcasting Company and the
appeared on carbon discs. After returning to Lima, first radio station in our country, called OAX, during
Montes and Manrique continued making more the government of Augusto B Leguía. Then came
recordings, this time with Rogelio Soto Gonzales, Radio Central, Radio Dusa and many more, where
for the Víctor company. Among these recordings, genres such as the waltz would be spread in the
various dramatic pieces whose theme was the 1930s and 1940s, thanks to groups such as Los
recent Pacific War draw attention. Criollos, La Limeñita, Jesús Vásquez, but also
In the 1950s, Creole music already existed and Andean music thanks to the group Cuarteto. from
began to be fashionable, but it is not that with the Inca Chamber of Félix F. Castro. It is the
Chabuca Grada and Felipe Pinglo it obtains the beginning of the massive diffusion of radio,
gift of music of Peruvian beauty. Thus, Creole possible thanks to the cheaper reception devices
music, in the 1950s, generated a “Boom” of new and also to the populist politics of the then ruler of
singers and authors of the genre, such as Augusto Peru, Oscar R. Benavides.
Polo Campo. The popularity of the genre was such
that radio stations began not only to broadcast the
songs, but also produced live programs (audit
programs) and the creation of albums by Creole
music singers became considerably popular due to
demand.
“Jesús Vásquez - Félix Castro”

The 1950s marks the beginning of a strong

migratory process from the province to the capital,
which will bring with it a phenomenon of
Andeanization of the city. Folkloric coliseums
emerge, attracting a large audience. The decisive
figure of José María Arguedas will be the one in
charge of bringing Andean music to vinyl record
With this “Boom” the career of music promoters format for commercial circulation. Arguedas had
began, a fact that helped, even more, the just completed important documentation work in
magnificence of the genre in its own heyday. It is the mountains, and was in charge of bringing
important to mention that this genre was music from the Mantaro Valley to local record
influenced by American music such as bolero, companies, a key area for the spread of Andean
jazz, etc. Always accompanied by various music. The Odeón House also began to produce
instruments but the guitar is fundamental. records with Andean music and towards the end of
Unfortunately there was always the notion that this the 50s there were already a large number of
genre was being lost with the arrival of others like records manufactured that were sold both in Lima
tango. and in the mountains. Not to mention the presence
that it is beginning to occupy on the radio.
Then Rock & Roll arrived in Latin America from
North America (USA) and specifically in the 60's
this genre touched the Peruvian genre. Although at
the beginning groups influenced by jazz, it did not
take long for the first precursors of rock to emerge
in Peru (Los Saicos, Los Shain's, Los York's,
among others). Likewise, not only the capital was
touched by North American rock, but also
Arequipa, which had a great exponent, Los Texao. The fall of the nationalist military regime made it
easier for that new generation of governors to
express their ideas. Thus, groups like Frágil and
Rio, with a more progressive rock typical of Peru,
are formed. Over the years, countless national
Peruvian rock groups emerged (SOS, Arena Hash,
Miki Gonzalez).

“The Texaos” But the economic crisis of the 80's attacked their
Then I appreciate the New Wave genre. This international and continuous progress. At the end
genre comes with a basically rock influence, but of the century, discographies were created in order
with a less strident sound and which stood out for to help promote national bands so that they could
its romantic lyrics (The best-known group in Peru exploit and evolve. Unfortunately, this fact was
was Los Doltons). very hard, if not useless, since piracy was a big
problem in the record label economy. Although in
Peru and specifically in the 90's, bands with a
more alternative genre such as punk-rock and
metal continued to form, creating a musical circle
in different cities of the country.

Then, the military government of the late 1960s,

led by Juan Velasco Alvarado, banned rock and its
sub-genres, as it stated that this music went
against the nationalist line of the time. Already in
1970 rock was reborn, so to speak.
On the other hand, although it did not catch on
much at the end of the 20th century in Peru,
genres emerged such as: Cumbia, chicha, tecno
cumbia, which at the beginning of the 21st century
were taken into account by mass society.
 CONTEMPORARY AND MODERN MUSIC In the 70s, cumbia gained greater influence from
provincial youth who listened to traditional huayno
Contemporary music in the 80s in Peru emerged and tropical music. This cumbia began to be
from combinations of foreign and national genres, played with the electric guitar and electronic
thus creating the genres chicha tecno cumbia and instruments but preserved our classic huaynos and
contemporary cumbia. traditional folklore, thus giving rise to the Peruvian
or coastal cumbia. The first to introduce this genre
Chicha music emerged in the early 1940s with the were “manzanita y su Grupo” and “Los Destellos”,
arrival of Andean migrants, transforming Lima into other groups. such as “Los Yungas”, “Los Ecos”
a provincial city. among others that include Andean themes.
These transformations brought great changes in
capitalist development, growth of the State, and
social movements.

"Electric guitar"

The migrants brought with them their customs and

traditions, their music, dances and cultural Likewise, this rhythm soon arrived in the jungle

celebrations, the cueles gave rise to new musical with groups such as “Los Mirlos” in Moyobamba,

genres and one of these is the chicha. “Juaneco y su Combo” in Pucallpa, “Los
Wemblers” in Iquitos, “Los Opalos” in Tingo María,

At that time, Andean cumbia emerged, which “Los tigres”, “fresa Juvenil”. ” and “Sonido 2000” in

introduced the electric guitar into huayno Tarapoto among other musical groups manifested

performances using the sax as a musical Cumbia Selvatica. In 1983, the chicha music boom

instrument. The first cumbia songs were performed flooded all of Lima, with phosphorescent signs and

by Peruvian authors such as “pejesapo”, “La posters inviting them to concerts, and chicha

escobita”, “juanita”, “El chinchorrito”, “La chichera”. records and cassettes were the best sellers at that
time.
 TYPES OF MUSIC IN PERU
At the end of 1990, a new genre emerged, techno
cumbia, which is based on Colombian cumbia. The influence of different cultures and

This genre was performed by a lead singer or idiosyncrasies have led to the creation of different

vocal group accompanied by electric guitars, musical genres, the most recognized for their

electronic drums and synthesizers. tradition are the marinera, the Peruvian waltz, the

Techno cumbia appeared in Peru through the festejo, the huayno, the cumbia and the tondero, to

singer Rossy War in 1998 with the song “I never name a few. Three of these genres will be

thought to cry,” which her husband “Tito Mauri” described below, hoping that in another article the

had composed. pending ones can be touched upon:

The Peruvian waltz: This musical style emerged

Currently music is influenced by many international
since the viceroyalty in Peru, especially in Lima.
genres, creating new genres for all audiences,
Already in the era of the republic, having the guitar
from children to adults. We have reggaeton, salsa,
as the initiator of this rhythm, and a singer or duo,
pop, ballads, among others.
revelries were organized in the squares or parks,
forgetting the reality that afflicted them at that time.

Various exponents of this rhythm gave way, giving

birth to one of the oldest waltzes in Arequipa: “
Ángel Hermoso ” written by Abelardo Gamarra
in 1889. Of course it is also important to mention
Felipe Pinglo, who enriched the musical culture of
that time, who offered another nuance to the
Creole waltz. It gave him more elaborate
harmonies and melodies, capable of bringing
together impressive lyrics and music, especially in transformation that the city of Lima is undergoing,
“ El Plebeyo ”, one of Pinglo's most famous traveling through different states to the present
compositions, which deals with the story of Luis day. The best-known Lima style is the Peruvian
Enrique Rivas, a basket weaver, in love with an waltz , popularized by important composers such
aristocrat as Carlos A. Saco , Aarón Landa , Felipe
Salaverry and Chabuca Granda who are
considered the main composers of Creole music,
with songs such as Rosa Elvira , El plebeyo , El
huerto de mi amada , El canillita , La flor de la
canela , Fina estampa and José Antonio .

Oscar Aviles

Many of the composer's friends agree that the

story is about his own life. It is worth highlighting
the participation of other composers, groups and
performers who exalted the Peruvian waltz:
Chabuca Granda , Fiesta Criolla , Jesús Vásquez ,
Las limeñitas y Ascoy, Oscar Avilés , Los Kipus,
Alicia Maguiña, Eva Ayllon , among others. Other well-known songs of this genre are: Alma, A
la Huacachina, corazón y vida , Madre , Odiame ,
El huayno: This musical genre was born in the
My private property and El rosario de mi madre . In
mountains of Peru , as the first cultural
addition to the waltz or waltz , Creole music
manifestation of indigenous peoples. It already
includes the genres of polka (these genres of
existed in the Inca era, which was later nuanced
Polish origin arrived in South America in the
by Spanish influence. To give an example, with the
second half of the 19th century along with the
assimilation of the use of the guitar within its
Schotich, the mazurka and the Spanish paso
classical instruments (quena, tinya, etc.). There
doble) and the marinera , the latter , originating in
are certain characteristics that differentiate the
ancient Zamacueca . The marinera is the national
huayno, depending on the place of origin.
dance of Peru, named by the writer Abelardo
Gamarra in honor of the sailors who fought against
Creole music: The coast, more influenced by
the Chilean army in the Pacific War . Among
Spanish culture, combines traditional European
coastal Peruvians, it is considered as
rhythms such as waltz and polka with diverse
representative as tango is in Argentina . It has
rhythms, especially of African origin. Not in vain, in
three main variants, the northern one , the Lima
colonial Lima, the population of black slaves was
one and the mountain one .
half of the city's total population.

The huayno in the center is more lively and

Current Creole music emerged at the end of the
sentimental in nature, having as instruments the
19th century as part of the process of social
quena, violin, tinya, sax, and harp. The huayno del The Hispanic origin , direct influence of Spanish
sur, characterized by a more sentimental and slow dances, which could be reproduced by the
movement, with instruments such as the charango, townspeople who observed, as well as the use of
guitar, antara, quena, among others. The northern purely European instruments such as the guitar
huayno , with a more lively and festive character, and the harp. And finally the Africanist , who
has instruments such as the quena, guitar, harp claims to have African influences, with its main
and violin. representatives being the zambos and blacks, who
with their dances reproduced their ancient
customs.

Among the most popular huaynos we have the

classic Valicha by Miguel Ángel Hurtado, Flor de
Retama by Ricardo Dolorier or “La Matarina” by
Consecutively, after the war of '79 it was called
Indio Mayta, among others.
"Chilean" but later it was baptized with the name
"marinería" or "dance of the sailor" in homage to
The marinera: It is a dance that has its beginnings
the Peruvian Navy, for such heroic feats of
with the zamacueca and shows the conjunction of
Admiral Miguel Grau in the Huáscar and the sea
Hispanic, African and Amerindian cultures. To
shaking reminiscent of dancing. Among the most
explain its origin, three very important influences of
popular marineras are “la Chiclayanita” by Emilio
the time are taken into account: the Peruvian
Santisteban , “Sacachispas” by Luis Abelardo
influence, which alleges the origin to the Inca era,
Núñez and “La Concheperla” written by José
related to certain customs of the Tahuantinsuyo,
Alvarado and composed by Abelardo Gamarra.
which was dancing on the day of rest after days of
rough agricultural work.
 range. She was acclaimed in different countries,
but especially in the United States, which granted
The most famous exponents and significant her citizenship in 1955. She used to appear
Peruvian melodies dressed as an Inca princess, which gave her
greater prominence, especially in Hollywood.
Below is a brief review of the greatest Peruvian
exponents over time, as well as some melodies
that achieved international success:

El Cóndor Pasa: Emblematic composition by

Daniel Alomía Robles, which was declared
Cultural Heritage of the Nation in 2004. It is
actually a zarzuela made in 1913 and was legally
registered in 1933 by the Edward Marks Corp. It
was written for orchestra and not for Andean
instruments, so in 1960 a version for Andean
instruments was published by the Argentine group
She was the first Latin American to receive her
Los Incas.
star on the Hollywood Walk of Fame for her great

The American Paul Simon was interested in this career and participation in the film “Secret of the

melody, so in 1965 he made a version to which he Incas” in 1954. Among his best-known

included lyrics, called “if I Could”, achieving great interpretations are: “Pachamama”, “Vírgenes del

fame. Over time, many artists in different countries Sol”, “Chuncho”, “Babalu” and “Gopher Mambo”.

have added lyrics to it, which is why they are

Vírgenes del Sol: Beautiful music composed by
considered apocryphal, since the song is initially
the Peruvian Jorge Bravo de Rueda, cataloged in
instrumental.
the “fox incaico” (or Inca jazz) genre, was declared
Cultural Heritage of the Nation in 2009. In this
work, the greatness of the Inca empire, the Inti, the
Inca and the Acllas, is recounted as the primary
theme of the work. Yma Sumac performed this
composition many times in different parts of the
world.

Raúl García Zarate: Renowned Ayacucho

guitarist of Andean music, with more than 60 years
of artistic career, he has received many
Yma Sumac: Zoila Augusta Emperatriz Chávarri decorations for his long career, he was named by
del Castillo, the great Peruvian soprano born in the National Institute of Culture as “Living Cultural
Cajamarca, a descendant of the Inca Atahualpa , Heritage of Peru.” The feeling captured in their
was one of the most famous Peruvian singers huaynos and yaravíes, and their notable
known since the 1950s for her unusual vocal
simplicity, make him a character that every
Peruvian should value.

Chabuca Granda: With her “ La Flor de la

Canela ”, “ Fina Estampa ” and “ José Antonio ”,
this Peruvian singer, interpreter of many Creole
waltzes and Afro-Peruvian rhythms, with a fine and
sensitive expression, has become a national
emblem.

It was characterized by having a stylized song,

with certain nuances that recalled the old waltzes
of yesteryear. Chabuca Granda's songs have been
performed by different artists, such as Placido
Domingo , Caetano Veloso , Julio Iglesias ,
among others.