La guitarra acústica en la música costeña peruana: géneros, roles y técnicas

Abstract

When talking with other musicians, with friends, and with interested people about this work and its realization, there is a question that almost always appears in the conversation: why do a work on coastal music in Peru? That same question, in the mouths of slightly more audacious people, is transformed into another: instead of that, why not do something about Colombian music? The answers to these questions fortunately do not rest on territorialized (or territorializing) visions of music, or on nationalist preferences. On the contrary, they respond to a very profitable (and still in process) journey through the popular and traditional music of Latin America through personal musical learning, better yet, they rest on a personal desire to learn as much as possible about our musical traditions (native, popular, traditional, there are many surnames that can be attributed to it), understanding by our not only the Colombian, but also the Latin American, a way of thinking that in many cases blurs or even erases the borders of countries through sound, providing a broad and extensive panorama that is increasingly worth exploring. The background for the realization of this work can be divided into three stages. The first is framed in the beginnings of the musical training of the researcher within the Nueva Cultura Musical School, a space where the first contact with Peruvian music was made possible in class and final show (concert) contexts, more or less from 10 or 12 years of age. The second stage, prompted by the previous one, was framed in the personal and collective learning of these musics through participation in Latin American traditional and popular music groups and presentations with these groups, obviously having as main support for learning the scarce discographic material that had been collected at the time (years 2002 - 2003). The third stage, already in the university environment, is the work in some academic and extra-academic spaces with these musics, which led to more presentations and even some record recordings.