This article proposes the use of works of art music as a source for the study of Andean popular genres in the late colonial period and the dawn of the republic in the present-day Peru and Bolivia, a difficult period to document due to the scarcity of written sources. This approach could contribute to the study of the early phases of such genres, how they differ from their contemporary versions, to documenting those that have already disappeared, and how academic composers have reflected material of a traditional origin into their works. The third and fifth movements of the Divertimento concertante, op. 43 for guitar, two flutes and string quartet by the Peruvian-Bolivian composer Pedro Ximénez Abrill y Tirado (Arequipa, Peru, 1784?; Sucre, Bolivia, 1856) are used as a case study.
|Translated title of the contribution||The Score as a Testimony of Tradition. A Case about Identity and Ethnomusicology in History|
|Number of pages||23|
|Journal||Cuadernos de Musica Iberoamericana|
|State||Published - Jan 2028|
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