The Peruvian Music
The Peruvian Music
The Peruvian Music
During the Inca period the music was pentatonic, mixing the notes Re, Fa, Sol, La and Do to
create compositions that could be religious, warrior or profane.
Dance, music and sing were present in communal or rituals activities like Uaricsa arahui or Inca
dance, llamaya, Pastoril dance, huarahuayo, agricultural dance and others.
With the conquest and the subsequent colonial era, the Peruvian territory receives the
influence of European music and later Afro-Peruvian.
The Viceroy Conde de Lemos brought from Spain the composer Tomás de Torrejón y Velasco.
He premiered The Purple of the Rose in the City of King.
Juan Araujo was one of the first to fuse European rhythms with African origin in the carol Los
Negritos, including the particular style of Spanish spoken by black communities.
During the colony the dance had two periods according the dynasties in the Metropolis. The
first was influence by Austria's home (XVI and XVII centuries) and the second was Bourbon
influence (XVIII and XIX centuries). In the first, Flemish, Italian and German music enters, while
in the second, French models enter.
In the same period the Creole music and African rhythms were primitive. During the
government of Viceroy Abascal, Italian opera was very popular in Lima, this viceroy tried to
impose the styles of Andrés Bolognesi, Cimarosa, Paisiello and Rossini. After the independence
and a brief period in which the local music was fashionable, Rossini returned to monopolize
the tastes in Lima.
With the republican era Creole music was born influenced by the Frenchness of the minuet,
the Viennese waltz, the Polish masurca, the Spanish jota and the mestizo expressions of the
central coast. The musical production in the early twentieth century was very intense and the
composers were mostly people from the neighborhoods that were characterized by having a
particular style for each neighborhood. At this time is known as the Old Guard, and their
compositions had no scores and they were not recorded and many of its authors were lost in
anonymity.
To this the beginning of the broadcasting in Peru in 1935 is increased to him, with this the
Creole music quit to being exclusive of the popular sectors and a Creole feeling begins to be
seen in Lima like the national music.
In 1944 the Creole Song was institutionalized. Years later, President Odría invited the criollos
troveros to the Government Palace. According to Llorens (1983), the background of this was
that the middle and upper classes looked for a point to legitimize their Peruvianness as
opposed to the migration from the Andean zone to the city, these groups did not accept the
Andean as a national symbol.
In the 50s, Peruvian rock appears applied to any variety of rock and roll, blues rock, jazz rock,
pop rock, etc. After a decade they took over the Lima scene, mainly giving a number of bands
experimented with new sounds both British and American . Groups like Los Saicos, Los York's,
Los Shain's or soloists like Jean Paul "El Troglodita" among many others diversified and
enriched the Peruvian movement both in Lima and in provinces.
Currently there are many musical genres used in Peru like : The alcatraz, cumbia norteña,
southern cumbia, huayno, guaracha, huayno, caporales, chicha, northern sailor, marinera
limeña, huaylas, morenada, waltz, underground tonderorock, Peruvian rock, techno cumbia,
salsa, and others.