Grupo Lemunantu

Folclor andino is the pan‑regional folk music of the Andean highlands, shaped by Indigenous Quechua and Aymara traditions and later mestizo influences. It centers on wind instruments such as quena (notched flute) and zampoña/siku (panpipes), the small 10‑string charango, guitar, and deep hand‑drummed bombos, producing bright timbres over earthy rhythms. Melodically it favors pentatonic and natural minor (Aeolian/Dorian) scales, parallel thirds, antiphonal hocketing between panpipe parts, and cyclical ostinatos. Repertoire often draws from regional forms like huayno, yaraví, carnavalito, and related highland dances, with lyrics that invoke the mountains, Pachamama (Mother Earth), love, migration, and social realities. As a modern stage and recording genre, folclor andino coalesced mid‑20th century when urban ensembles standardized instrumentation and performance, later intersecting with nueva canción’s socially engaged aesthetics and spreading globally through tours and world‑music circuits.

Traditional music is an umbrella term used in the mid–20th century by folklorists and ethnomusicologists to denote community-rooted, orally transmitted repertoires tied to social ritual, work, celebration, and storytelling. Unlike commercial pop or art-music traditions, traditional music is typically learned by ear, varies regionally, and evolves slowly through communal participation. It often features modal melodies, cyclic rhythms, heterophony or unison singing, and indigenous instruments whose timbres are integral to local identity. Lyrics tend to preserve language, history, and collective memory. While the musical practices themselves can be ancient, the phrase “traditional music” emerged to replace earlier, narrower or colonial framings like “folk” or “ethnic” music, foregrounding continuity, locality, and living practice rather than exoticism.

La música mapuche es el conjunto de prácticas sonoras ceremoniales y cotidianas del pueblo mapuche de Wallmapu (sur de Chile y suroeste de Argentina). Se caracteriza por el uso de instrumentos tradicionales como el kultrún (tambor ceremonial de parche único), la trutruka (trompeta natural de madera y cuerno), la pifilka (flauta de una sola nota), el trompe (arpa de boca) y las cascahuillas (sonajas). Sus cantos (ül/ülkantun y tayül) suelen ser monódicos, con melodías pentatónicas o tetratónicas, contornos repetitivos, acentuación flexible y una fuerte relación prosódica con el mapudungun. El pulso es cíclico y se articula frecuentemente con patrones ostinati de kultrún, que conectan el tiempo musical con la cosmovisión y el calendario ritual. Funcionalmente, la música mapuche acompaña ceremonias como el ngillatun y el machitún, y también aparece en contextos de trabajo, juego y transmisión oral. En el presente, convive la práctica tradicional con fusiones contemporáneas (folk, rock, hip‑hop, metal), donde se preservan timbres e imaginarios mapuche a la par de nuevas poéticas urbanas.