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Chili musiqasi ning barcha turlariga ishora qiladi musiqa yilda ishlab chiqilgan Chili, yoki boshqa mamlakatlardagi chililiklar tomonidan Ispaniya konkistaditorlarining kelishi zamonaviy kunga. Unga mahalliy ham kiradi kolumbiygacha bugungi Chili hududidan musiqa.

Chilidagi musiqa

Kolumbiyalikgacha va mustamlakachilik davri

Chilining Ispangacha bo'lgan xalqining tarqalishi, Pasxa oroli kiritilmagan

Evropalik zabt etuvchilar kelguniga qadar Amerikani tashkil etuvchi zamonaviy milliy chegaralar mavjud emas edi, shuning uchun bu davrdan boshlab "Chili" yoki boshqa biron bir Janubiy Amerika mamlakati musiqasiga murojaat qilish mumkin emas. Biroq, musiqa Amerikada bir necha asrlar oldin mavjud bo'lgan Evropa Fath va ko'plab Ispan musiqasining o'ziga xos xususiyatlari va asboblari Chili va Lotin Amerikasining folklor va musiqiy an'analarining bir qismini tashkil etdi.Arxeologik qazishmalar natijasida ushbu hududda uzoq vaqt davomida turli xil musiqiy madaniyatlar mavjudligini ko'rsatuvchi ko'plab musiqa asboblari topildi. oldin ham Inka davr. Tomonidan qoldirilgan qoldiqlar bo'yicha ilmiy tadqiqotlar Nazka va Mochica xalqlar kichik intervallar, yarim tonlar, xromatiklik va besh, oltita, etti va sakkizta notalardan iborat musiqiy tarozilar mavjud bo'lgan murakkab nazariy musiqiy tizimlarning mavjudligini ko'rsatdilar,^[1] Osiyo va Evropadagi zamonaviy madaniyatlarga teng.Sosiolog Karlos Keller^[2] And mintaqasining Ink okkupatsiyasini bilan solishtirdi Rim egallash Gretsiya yoki Azteklar zabt etish Mayya.^[1] Atseklar va rimliklar singari, inklar ham o'zlari topgan madaniyatlarning bilimlari va urf-odatlarini olib, ularni o'zlariga qo'shdilar. Inca musiqasi elementlari tomonidan shakllangan Nazka, Chimu, Kolla - Aymara va boshqa madaniyatlar. Bundan tashqari, inklar qandaydir rasmiy musiqiy ta'limni rivojlantirgan birinchi Amerika xalqi bo'lgan deb hisoblashadi.^[1][3]

Atakama xalqi

Inklar Chilining shimolidan ilgarilab ketganda, ular turli xil mahalliy xalqlarga duch kelishdi va o'zlarining madaniyati elementlarini, xususan Atakaminolarni o'zlashtirdilar (Atakama xalqi). Atacameños - o'zlarini Naskadan yuqori darajada ta'sirlanishgan - bu uyushgan jamiyat bo'lib, ba'zi qismlarda yashagan Atakama sahrosi, asosan mintaqaning sharqiy va markaziy sektorlarida bo'lib, qadar tarqaldi Markaziy Chili. Ular XV asrda inklar tomonidan zabt etilgan, ammo bugungi kunda ham ba'zi qadimiy qo'shiqlarni gapirishmoqda va kuylashmoqda xunza, o'z xalqlarining asl tili.

Mapuche Machis - an'anaviy barabanchi Kultrun bilan

Mapuche odamlar

The Mapuche odamlar mintaqadan aholi yashaydigan asosiy mahalliy aholi edi Kopiapo shimoldan to Chiloé janubda. Mapuche hech qachon Inclar tomonidan zabt etilmagan, shuning uchun ularning musiqa va musiqa asboblari And ta'sirida qolgan shimoliy madaniyatlardan farq qiladi. Ispaniyalik xronikachilar o'zlarining musiqiy marosimlarini qiziqish bilan kuzatdilar va ularning kuzatuvlari tarixchilarga ushbu dastlabki musiqani zamonaviy Mapuche musiqasi bilan taqqoslashlariga imkon berdi. Tarixchi Samyuel Martining yozishicha, Mapuche "bilim va mahoratni namoyish etish yoki tomoshabinlarning ko'nglini ochish uchun emas, balki ularning xudolarini ulug'lash uchun raqsga tushmaydi yoki qo'shiq aytmaydi".^[4][5] Mapuche musiqasi bugungi kunda, nasroniylik ta'siriga qaramay, hali ham an'anaviy xudolarga bo'lgan ishonch, umid yoki qo'rquvning ifodasidir, chunki istilo yangi madaniy elementlarni kiritgan bo'lsa ham, bu xalqlarning ruhini o'zgartirmadi.^[6]The Frantsiskan missioner Geronimo de Ore (Lima, Peru, taxminan 1598) Mapuche bolalari qo'shiqlarni juda yoshligidan o'rganganliklarini va yaxshi xotira va ritm tuyg'usini namoyish etganliklarini ta'kidladilar. De Ore, ushbu ko'nikmalardan evangelizatsiya va diniy ta'limot vositasi sifatida foydalanish mumkinligini tushunib, nasroniy ibodatlari ona tilida o'qitilishi va mahalliy yoki evropa kuylarida kuylanishi kerak edi. Xuddi shu usulni Chilida Iezvit ruhoniylari qo'llashgan. Iezuit ruhoniysi Bernardo Xavestadt 1748 yilda Chiliga kelgan va La Mokada missioner sifatida ishlagan Concepción, Rere va Santa Fe. 1777 yilda u Vestfaliyada Evropa uslubidagi musiqa hamrohligida 19 ta Mapuche qo'shig'ini o'z ichiga olgan hujjatni nashr etdi. And xalqlaridan farqli o'laroq, Mapuches nazariy musiqiy tizimni rivojlantirmagan, ammo amalda ularning cholg'ulari cheklanganligi bilan belgilanadi. Ushbu asboblarda chalish texnikasi avloddan avlodga saqlanib kelinmoqda va kuylar davrlarni bog'lash orqali shakllanadi. Mapuche musiqasida uzun notalar yo'q va ularning musiqasining tarozilari va ohangdor sxemalari panfonik And musiqasiga hech qanday aloqasi yo'q. XVII asrda xronikachi Gonsales de Najera musiqani "xursand bo'lishdan ko'ra achinarli" deb, musiqa asboblari esa ispanlar va boshqa mahalliy dushmanlarning suyak suyaklaridan yasalgan asosiy davullar va naychalar sifatida tasvirlangan.^[7] Boshqa xronikachilar Gonsales de Naveja kuzatuvlariga qo'shilishgan, shu jumladan jessuit Xuan Ignasio Molina (Abate Molina).^[8]

Mapuche musiqa asboblari

puflama asboblar quyidagilarni o'z ichiga oladi:Trutruca, yoki trutruka: kolli daraxtidan yasalgan to'g'ri yoki spiral shaklidagi karnay turi (Chusquea culeou) tovushni kuchaytirish uchun terminal yoki lateral og'iz va mol shoxi bilan.

trutrucaga o'xshash, ammo unchalik katta bo'lmagan, tabiiy o'simlik turlaridan bo'lgan olkin qamishidan tayyorlangan.

Pingkullve: 5 teshikli ko'ndalang naycha, kolix yog'ochidan qilingan (Chusquea culeou). Pifülka yoki: yopiq uchi bo'lgan vertikal nay, yog'ochdan yasalgan va juft bo'lib o'ynagan Kull kull: buqa shoxidan yasalgan kichik karnay.

Telli cholg’ulardan eng yaxshi tanilgani boshqa madaniyatlarda Pawpawen, Latajkiaswole yoki Alenta-Ji-Wole nomi bilan mashhur Kunkulkava. U boshqa kamonga surtilgan kamondan iborat bo'lib, ba'zi xronikachilar ham a ni tasvirlashadi og'iz kamon.^[1]

Membranofon asboblarga Makawa yoki kakel kultrung, ikki boshli baraban kiradi; va Kultrun yoki Kultrun, tantanali davul va Mapuche madaniyatidagi eng muhim musiqiy asbob machi diniy va madaniy marosimlar uchun (davolovchi yoki sehrgar).

Idiofon asboblarga Kadkavilla yoki, Cultrun bilan birga ijro etiladigan jingle qo'ng'iroqlari bog'langan charm kamar kiradi; va Wada yoki Huada, kichkina toshlar yoki urug'lar bilan to'ldirilgan oshqovoqdan qilingan shivirlash.

Fueguinos

Zamonaviy Chilining eng janubiy mintaqalarida musiqa mahalliy aholi Fueguino xalqlari tomonidan yaratilgan Tierra del Fuego, jumladan Onas, Yaganes, Yamanalar va Alacalufes).^[9] Fueginoslar XX asr boshlarida Shimoliy Amerika polkovnigi bilan kashfiyotchilar e'tiborini tortdilar Charlz Vellington Furlong fonograf yozuvlarini birinchi bo'lib yozib olgan Ona va Yagan 1907-1908 yillardagi qo'shiqlar. Nemis ruhoniysi va etnologi Martin Gusinde ularning musiqalarini o'rganib chiqdi va yozib oldi va 1923 yil 23-iyuldagi maktubida Amazonda kuzatilganlarga juda o'xshash musiqa va raqslar bilan marosimlar haqida yozgan, u buni g'amgin, tantanali va tonus oralig'ida juda cheklangan deb ta'riflagan.^[1]

Chilida musiqaning rivojlanishi

Chili musiqasi bilan chambarchas bog'liq Chili tarixi va geografiya. Landshaft, iqlim va turmush tarzi shimoldan janubgacha juda farq qiladi va madaniy an'analarga chuqur ta'sir ko'rsatadi.

Mustamlakachilik davrida va mustaqillik uchun kurash davrida ommabop musiqa harbiy orkestrlar va cherkov ta'sirida katta edi. Musiqiy asboblar kam edi va agar siz badavlat oiladan bo'lmasangiz, harbiy orkestrlar yoki cherkovlardan tashqarida asbob o'ynashni o'rganish imkoniyati juda kam edi.

Chililik xuaso akkordeon chalmoqda

XIX asr

XIX asrda, mustamlaka davri tugashi va an ga o'tish bilan mustaqil respublika, musiqa va madaniyatning boshqa jihatlari asta-sekin milliy o'ziga xoslik kasb eta boshladi.

Respublikaning dastlabki yillarida etakchi musiqachilarning aksariyati chet eldan kelgan. 1823 yilda Chiliga professional musiqachilar to'lqini keldi, shu jumladan: Peru shahrining Lima shahridan Bartolome Filomeno va Xose Bernardo Alzedo; Argentinaning Kordova shahridan Xuan Krisostomo Lafinur; va ispaniyalik,^[10] ushbu davrdagi Chili musiqasining eng muhim namoyandalaridan biri. Evropada Federiko Massimino bilan arfa, gitara, pianino va qo'shiqchilikni o'rganib chiqqan Isidora musiqiy bilimlarini chililikda mamnuniyat bilan kutib oldi. Tertulialar (a kabi boy odamlarning ijtimoiy yig'ilishlari salon). U Chili musiqasining rivojlanishiga rasmiy ravishda o'z hissasini qo'shdi, chunki u 1852 yilda birinchi Milliy Musiqiy Konservatoriyasini va Musiqa Akademiyasini tashkil etishga yordam berdi. Chilidagi ba'zi birinchi opera va balet tomoshalari ham shu vaqtlarda bo'lib o'tdi.

XIX asrning oxiriga kelib Santyagoda musiqiy klublar va boshqa xususiy tashkilotlar paydo bo'ldi, Concepción, Valparaiso, Valdiviya va boshqa shaharlar, shu jumladan: "Club Musical de Santiago" (Santiago, 1871), "Sociedad Musical Reformada" (Valparaíso, 1881), "Deutscher Verein" (1853) va "Club de la Union" (Valdiviya, 1879), " Sosedad de Musiqiy Klasika »(Santyago, 1879), va« Sosedad Kuarteto »(Santiago, 1885).

Yigirmanchi asrning etakchi chililik bastakorlaridan ba'zilari XIX asr oxirida tug'ilganlar, shu jumladan: Celerino Pereyra Lekaros (1874), Prospero Bisquertt (1881), Karlos Lavin (1883), Xaver Rengifo (1884), Alfonso Leng ( 1884), Enrike Soro Barriga (1884), Pedro Humberto Allende (1885), Karlos Isamit (1887), Acario Cotapos (1889), Armando Karvaxal (1893), Samuel Negrete (1893), Roberto Puelma (1893), Xuan Kazanova Vikuena (1894) va Domingo Santa Kruz (1899).

Violeta Parra Chili folklorining ikonkasi

Yigirmanchi asr

Yigirmanchi asrga kelib Chili o'zining musiqiy sahnasini yaratdi, ammo aksariyat Amerika mamlakatlarida bo'lgani kabi, milliy o'ziga xoslik hali ham Evropa uslublari hukmron bo'lgan dunyoda o'zini namoyon qilish uchun kurashdi. Bastakor Evropa uslublarining ta'siri haqida shunday deydi: "Amerikaning yosh musiqasi hazm qilinmagan estetik elementlardan tepalikdir".^[11] Bu mahalliy folklor va an'analarni deyarli butunlay e'tiborsiz qoldirishga olib keldi.

1900 yildan boshlab Chili jamiyatida musiqa markaziy o'rin tuta boshladi. Birinchi Chili yozuv yorlig'i, Fonografía Artística (ikkalasini ham ishlab chiqargan tsilindrlar va disklar) o'z faoliyatini 1908 yilda Santyagoda boshladi.^[12] 1912 yilda "Chili orkestrlar jamiyati" tashkil topdi va keyingi yil davomida Betxovenning to'qqizta simfoniyasini ijro etdi, "La Orquesta" (Orkestr) jurnalini nashr etdi va Baxning birinchi chiqishlari. Nufuzli oilalar musiqani rivojlantira boshladilar va musiqani qadrlash jamiyatlarini yaratishda qatnashdilar. Ushbu nufuzli oilalar musiqa sahnasiga aralashgandan so'ng, musiqachilarning jamiyatdagi obro'si o'zgarishga kirishdi - ilgari ularni nomaqbul deb hisoblashgan, ular madaniyatning muhim qismi sifatida qaraladigan bo'lib, musiqiy bilimga ega bo'lish madaniyatli inson uchun juda muhim ahamiyatga ega bo'ldi. Bach Jamiyati, musiqachilar va ziyolilarning fuqarolik tashkiloti, Chilida rasmiy musiqiy ta'limni, ayniqsa "Conservatorio nacional" (Milliy konservatoriya) da qattiq tanqid qila boshladi. Jamiyat konservatoriyaga qabul qilingan talabalar soni haddan tashqari ko'p bo'lganini va konservatoriyada uzoq muddatli rejalashtirish yo'qligini da'vo qildi va Italiya operasiga sig'inishni "retrograd" deb tanqid qildi. Ta'lim vazirligi ushbu tashkilotni isloh qilishni ko'rib chiqish uchun komissiya tuzdi va natijada Chilida musiqa rivojlanishining yangi bosqichiga olib keldi, musiqa yaratish, musiqa o'qitish va musiqachilar va bastakorlarni qo'llab-quvvatlashga bag'ishlangan tashkilotlar yaratildi.^[13]Chilida musiqa rivojiga hissa qo'shgan yana bir institut Chili Universidad (Chili universiteti), 1929 yilda o'zining yuqori san'at fakultetini tashkil qilganida. Ammo 1802 yilda ham, yuqori san'at fakulteti tashkil etilishidan ancha oldin, muassasa ichida musiqa madaniyati va o'qitishni yuqori darajaga ko'tarish uchun harakatlar bo'lgan. 1802 yilda San-Felipe universiteti (keyinchalik Chili universiteti bo'ladi) bir guruh professor-o'qituvchilari o'z muassasalarida musiqani har qanday o'qitish musiqachilar mahorati yoki qo'shiqchining ovozi sifatiga emas, balki uning o'rniga asoslangan bo'lishi kerak degan qarorga kelishdi. ilmiy va matematik printsiplar.Yuqori san'at fakultetining yaratilishi darhol ta'sir qildi. Ko'p o'tmay, kutubxona tashkil etildi, albomlar to'plami ishlab chiqarildi va Chili musiqachilari va bastakorlarini targ'ib qilish bo'yicha bir qator tanlovlar va tadbirlar o'tkazildi. Yigirmanchi asrning ikkinchi yarmida Chilida musiqa rivojiga hissa qo'shgan ko'plab tadbirlar va yangi muassasalar, masalan: "Instituto de extencion musical" ning yaratilishi, 1940 yilda (1941 yilda Chili simfonik orkestri) va 1945 yilda "Revista Musical Chilena" (Chili Music Journal) tashkil topdi. 1943 yilda "Instituto de Investacion folklorica" ​​(Folklorik tadqiqotlar instituti), bu "Instituto de Investacion musical" (Musiqiy tadqiqotlar instituti) ga aylanadi. Institut Chili musiqasini targ'ib qilishda juda faol ish olib boradi, ko'plab chililik musiqachilar va bastakorlarga homiylik qiladi va moliyalashtiradi. 1948 yilda Oliy san'at fakulteti ikkala institutning rivojlanishiga imkon beradigan musiqa va san'at fakultetiga bo'lindi. "Orquesta filarmonica de" Chili ”(Chili filarmonik orkestri) 1955 yilda tashkil topgan bo'lib, keyinchalik u o'z nomini“ Orquesta filarmonica munisipal ”(Munisipal Filarmoniya Orkestri) ga o'zgartirdi. Shuningdek, 1955 yilda "Universidad Catolica de Santiago" da (Santiago katolik universiteti) "Taller eksperimental del sonido" (Eksperimental tovush laboratoriyasi) tashkil etildi. Fizikning Chiliga tashrifidan so'ng Verner Meyer-Eppler 1958 yilda elektron musiqa bilan tajribalar ilmiy qo'llab-quvvatlandi va elektron musiqa laboratoriyasida ish boshlandi. 1959 yilda "Santiago katolika universiteti" da tashkil etilgan "Departamento de musica" (musiqa bo'limi). allaqachon musiqa instituti va kamera orkestri bo'lgan, shuningdek musiqa albomlarini yozgan va chiqargan. O'sha yili Xose Visensio Asuar "Generación mecánica y electrónica del sonido musical" (Musiqiy tovushning mexanik va elektron avlodi) nomli tezisini nashr etdi va o'zining tezisini namoyish etish uchun "Variaciones espectrales" (Spectral Variations) ni yaratdi. ning Chilida elektron musiqa.60-yillarda bu tendentsiya davom etdi va butun mamlakat bo'ylab musiqani targ'ib qilishga bag'ishlangan bir nechta muassasalar, shu jumladan "Asociación de Coros de Tarapaca" (Tarapaca xorlari uyushmasi) tashkil etildi. Tarapaka viloyati va "Orquesta de la Universidad Austral de Valdivia" (Avstraliya Valdiviya Universiteti Orkestri). Ushbu universitet va uning musiqiy konservatoriyasi Chilining janubidagi musiqaga katta hissa qo'shdi1961 yil Musiqiy tadqiqotlar instituti tomonidan tashkil etilgan "Folklorik haftaliklar" tadbiri boshlandi. Xuddi shu yili "Orquesta Clásica Pro Música de Viña del Mar" (Viña del Mar klassik musiqa orkestri) yilda tug'ilgan. Vena del Marva Antofagastada "Orquesta Sinfónica de la Universidad de Chile" (Chili universiteti simfonik orkestri) tashkil topgan. 1962 yilda Amerika davlatlari tashkiloti Ilmiy va musiqiy san'at fakulteti tomonidan "Instituto Interamericano de Educación Musical" (Interamerican Musical Education Institute) yaratildi. 1962-1968 yillarda Xose Visensio Asuar bir nechta albomlarini chiqardi. elektron musiqa Germaniyada (Karlsrue) va Venesuelada (Karakas) va Tomas Lefever ushbu janrda 19 ta trek yaratgan. Kontsepsiyon universiteti 1963 yilda "Escuela superior de música" (Musiqa kolleji) ni yaratdi va Lota, ko'mir ishlab chiqaruvchilar "Coro Polifonico de Lota" (Lota Polifonik xori) ni yaratdilar. La Serena ning tajribalari asosida 1965 yilda Asosiy musiqa maktabi tashkil etildi Bolalar orkestri o'sha shahardan. Xuddi shu yili Osorno, shahar universitetidagi musiqa kolleji bilan bir qatorda Filarmoniya orkestri tashkil etildi.1966 yilda musiqa tadqiqotlari instituti Chili folklor musiqasining birinchi antologiya albomini chiqardi. Xuddi shu yili Katolika Universidadida Semyuel Klaro o'zining "Estudio N ° 1" ikkinchi elektron musiqiy albomini chiqardi. 1967 yilda birinchi elektron albomlari chiqdi, Asuarning "Tres ambientes sonorous" (1967) va Amenábarning "Klesis" "(1968).

1966-1968 yillarda hukumat tomonidan olib borilgan ta'lim islohotlari maktablarda musiqiy ta'limga katta ta'sir ko'rsatdi, ko'proq o'qitilgan o'qituvchilar talab qilinadi va yangi o'qitish usullari qo'llaniladi. Taxminan shu vaqt ichida, 60-yillarning ikkinchi yarmi va 70-yillarning birinchi yarmida Nueva Canción Chilena (Yangi Chili qo'shig'i) harakati paydo bo'la boshladi Violeta Parra3000 dan ortiq chililik qo'shiqlar, retseptlar, urf-odatlar va maqollarni saqlab qolish uchun qilingan sa'y-harakatlar.^[14] Ushbu harakatning boshqa a'zolari kiritilgan Vektor Jara, Patrisio Manns, Izabel Parra, Anxel Parra, Osvaldo "Gitano" Rodrigezva guruhlar Quilapayun, Inti Illimani va Illapu.1969 yilda Chili Universitetining musiqa bo'limi Antofagasta yaratildi va 1970 yilda Chilining Simfonik orkestri sun'iy yo'ldosh orqali translyatsiya qilingan birinchi televizion kontsertni ijro etdi va deyarli butun qit'ada namoyish etildi. "Opera Nacional" (National Opera) "Instituto de Extencion Musical" qoshida tashkil topgan va o'z ishlariga milliy mavzularni doimiy ravishda qo'shib kelgan. 1973 yil Chili davlat to'ntarishi, musiqa, deyarli barcha madaniyat turlari singari, ba'zi musiqachilarning siyosiy aloqalari tufayli katta muvaffaqiyatsizlikka uchradi, ayniqsa ommabop musiqa.80-yillarda harbiy rejim ostida o'sgan avlod asta-sekin madaniy zaminni asta-sekin qayta tiklay boshladi. rejim tarafdorlari. Pank va rok siyosiy norozilikni ifoda etish vositasi bo'lib, norozilik shakli sifatida ishlatilgan. Shu vaqt ichida ba'zi guruhlar o'zlarining materiallarini uy qurilishi orqali tarqatadilar kassetalarva rejim oxiriga kelib, guruhlar kabi Los Prisioneros 1990-yillarda Chili dunyo va Evropa va AQSh tendentsiyalari bilan qayta bog'lanib, Chili ommaviy madaniyatining bir qismiga aylandi. Harbiy tuzum davrida deyarli yo'q bo'lib ketgan milliy musiqa sanoati qayta tug'ildi va katta ovozli yorliqlarning mahalliy filiallari turli xil natijalarga erishgan holda mahalliy guruhlarni targ'ib qilishga urinishdi.

Chili xalq musiqasi

Shimoliy Chili xalq musiqasi

Shimoliy an'anaviy musiqa mintaqalar orasidagi hududlarda Arica y Parinacota va Coquimbo katta ta'sir ko'rsatgan And musiqasi va tomonidan Kechua, Aymara, Atakama va egallagan hudud atrofida yashagan boshqa madaniyatlar Inka imperiyasi Evropaga kelishidan oldin.Shimoliy folklorga ta'sir ko'rsatgan boshqa elementlarga Ispaniyaning mustamlakachilik harbiy orkestrlari va katolik cherkovi kiradi, chunki ikkala muassasada ham marosimlari doirasida musiqa bo'lgan va shuning uchun musiqa asboblari va musiqa asboblariga ega bo'lgan yagona odamlar bo'lgan. musiqani metodik ravishda o'rgatish degan ma'noni anglatadi.^[15]An'anaviy musiqa diniy bayramlarda ustun rol o'ynaydi, bu mamlakatning ushbu zonasida, Amerikaning boshqa ko'plab joylarida bo'lgani kabi, Kolumbiya va nasroniylarning muqaddas kunlarini nishonlash shakllarini birlashtiradi. Ushbu aralashmaning bir misoli Diabladalar (Devil Dance) marosimi, rang-barang raqslar va instrumental musiqa. The La Tirana festivali, har 16-iyul kuni shaharchasida bo'lib o'tadi La Tirana, ikkala diabladaning va nasroniy sadoqatining yaxshi namunasidir.

• Shimoliy Chili musiqa asboblari

Shimoliy Chilining an'anaviy musiqiy asboblari

Ushbu sohadagi ba'zi an'anaviy musiqa asboblarini ispaniyaliklar olib kelishgan, boshqalari esa mahalliy xalqlardan meros bo'lib qolgan.

• Quena (Kechua): "Kena" nomi bilan ham tanilgan, bu an'anaviy nay And. An'anaviy ravishda totora, unda oltita barmoq teshiklari va bitta bosh barmoq teshiklari mavjud.
• Zampona: The siku (Kechua: antara, Aymara: siku, shuningdek, "sicu", "sicus", "zampolla" yoki Ispaniya zampoña), an'anaviy And dengizidir panpipe. Bu musiqiy janrda ishlatiladigan asosiy vosita sikuri. Bu an'anaviy ravishda hamma bo'ylab uchraydi And lekin odatda musiqiy musiqa bilan bog'liq Kollasuyo, yoki Aymara Leyk atrofidagi mintaqalar Titikaka.
• Ocarina: Bu butun dunyoda keng tarqalgan vosita. Amerikada bu Incalar davridan boshlangan va ba'zi hududlarda bayramlar, marosimlar va marosimlar uchun ishlatiladi. Arica y Parinacota va Tarapaka mintaqalar. Dunyoning bu qismidagi okarinalar 8-9 teshikli, ba'zan hayvonlar kabi shakllangan loydan qilingan.
• Charango: The charango kichik And torli asbob ning lute oila. Bu kelib chiqishi Kichua va Aymara Kolumbiyadan keyingi davrlarda, Amerika qit'asi Evropa torli asboblariga duch kelganidan keyin va hozirgi And mintaqalarida yashaydi. Boliviya, Peru, shimoliy Chili va shimoli-g'arbiy qismida joylashgan Argentina, bu erda mashhur musiqiy asbob sifatida keng tarqalgan.^[16] 66 sm uzunlikdagi charango an'anaviy ravishda an qobig'i bilan qilingan armadillo (quirquincho, mulita) va shuningdek, bugungi kunda topilgan va aks sado beradigan eng keng tarqalgan material bo'lgan yog'ochdan tayyorlanishi mumkin.^[17] Charango birinchi navbatda an'anaviy And musiqasida ijro etiladi, ammo ba'zida boshqa Lotin Amerikasi musiqachilari tomonidan ham qo'llaniladi. Odatda, beshta ichida 10 ta satr bor kurslar har biri 2 ta satrdan iborat, ammo boshqa variantlar mavjud. Charango pleyeri a deb nomlanadi charanguista.
• Bombo nortino: so'zma-so'z "Shimoliy bosh baraban", bu mintaqaviy o'zgarishdir Bass baraban, an'anaviy ravishda yog'ochdan yasalgan va teri bilan qoplangan. Bu diniy va butparast marosimlarning aksariyat qismida qo'llaniladi.

Markaziy Chili xalq musiqasi

"Valle markaziy" (Markaziy vodiy) - bu Chakabuko tog 'tizmasidan o'tuvchi erning kengayishi bo'lib, u Akonkagua va Maypo vodiylari ning shimolida Valparaiso viloyati, uchun Bio Bio daryosi. Chilining janubidagi kabi Chili markazidagi folklor qishloq hayoti va ispan merosi bilan chambarchas bog'liqdir. Eng ramziy ko'rsatkich bu Xuaso, amerikalik kovboy, meksikalik charro yoki Argentinaning goucho'siga o'xshash mahalliy va mohir otliq. Markaziy Chili, kubik va tonada raqslar va qo'shiqlar eng o'ziga xos uslublardir. Mamlakatning ushbu hududida akkordeon (nemis muhojirlari tomonidan janub orqali kiritilgan) eng mashhur asboblar, gitara, arfa, dafna va tormento, bu erda ishlatilgan mustamlakachilik davrining Chili vositasi salon a yoki shunga o'xshash partiyalar yoki "tertulias" ksilofon.

Markaziy Chili folklorining bir qismi bo'lgan boshqa raqslar va musiqalar qatoriga dastlab Argentinadan kelgan "Sajuriana", shimoldan kirib kelgan "Refalosa" va Evropadan meros bo'lib o'tgan va birinchi yarim yillikda juda mashhur bo'lgan "Vals" kiradi. XIX asr yuqori sinflar orasida. Bugungi kunda kamroq tanilganlarga "Korrido", "La Portenea", "El Gato", "La Jota", "El Pequén", "El Cuando", "El Aire", "El Repicao", " La Polka "," La Masurca "," Guaracha campesina "va" Esquinazo ".^[18]

Chili huasos o'sha paytda 2007 yilda raqsga tushgan cueka Ross Casino ning Pichilemu

Kueka

The kubik (qisqacha zamacueca) azaldan "Chilining eng an'anaviy musiqasi va raqsi" deb hisoblangan.^[19] Dastlab u 1824 yilda paydo bo'lgan, ammo uning kelib chiqishi aniq emas. 1979 yil 18 sentyabrdan boshlab cueca rasmiy milliy raqs sifatida tasdiqlangan.

Cueca bir vaqtning o'zida 6/8 va 3/4 kombinatsiyasida yozilgan va juda qattiq tuzilishga ega bo'lib, u uch qismga bo'lingan: "cuarteta", ikkinchi va to'rtinchi qismlarida qofiyalar bilan sakkizta hecadan iborat to'rtta misradan iborat oyatlar; "seguidilla"; va "remat". Tuzilishi quyidagicha:^[20]

• Kuarteta ....... A-B-B-A-B-B ............ JAMI: 24 ta chora
• Seguidilla ..... A-B-B-A-B- (B) ........... JAMI: (20) 24 o'lchov
• Remate ........ A ........................... JAMI: 4 ta chora

Ga binoan Pedro Humberto Allende, chililik bastakor, "na so'zlar va na musiqa biron bir qat'iy qoidalarga bo'ysunmaydi; turli xil motivlar bemalol aralashib ketadi".^[21]Mamlakatning ba'zi hududlarida kyuekaning ba'zi variantlari mavjud Shimoliy hududlarda kyuekaning so'zlari yo'q va diniy bayramlar va karnaval paytida raqsga tushadi. Bu erda uni ijro etish uchun ishlatilgan andican kelib chiqishi, sicus, zampoñas va guruch (karnay-surnay va truba) kabi ba'zi bir asboblarni o'z ichiga oladi. Markaziy mintaqalarda kyuekaning so'zlari bor va uni ijro etish uchun eng ko'p ishlatiladigan gitara, dafna, akkordeon. va orolda Chiloe, kubikdagi asosiy farq dastlabki "cuarteta" ning yo'qligidan iborat. Seguidilla oyatlari takrorlanib, musiqa yoki raqsga emas, balki qo'shiqchining so'zlarini talqin qilishga katta ahamiyat beriladi. Cueca brava (urban cueca) - bu 1860-yillarda paydo bo'lgan kubaning o'zgarishi. bar va fohishaxonalar kabi joylarda ashula va raqs tushadigan shaharlarning qo'pol mahallalari.

Tonada

The Tonada ispan ko'chmanchilari olib kelgan musiqadan kelib chiqadigan Chili an'anaviy qo'shiqlarining yana bir muhim shakli. U raqsga tushmaydi va kubikadan oraliq ohangdor qism va umuman olganda taniqli kuy bilan ajralib turadi. Bir nechta guruhlar tonadani o'zlarining asosiy ifoda shakli sifatida qabul qilishdi, masalan Los Huasos Quincheros, Los Huasos de Algarrobal, Los-Ramon va boshqalar. Zamonaviy qishloq tonada Rakel Barros va Manuel Dannemann ta'riflaganidek, odatda sodda va "bir xildagi".^[22][23] >^[24]

• Markaziy Chili musiqa asboblari

Janubiy Chili xalq musiqasi

Qiyin landshaft, doimiy aholisi Huilliche xalqiva mamlakatning boshqa joylarida bo'lgani kabi yo'qolmagan ispan merosi ham Chili janubidagi musiqaga o'ziga xos xususiyatlarni taqdim etdi. Chiloé. Mustaqillik urushi davrida Chiloe Ispaniya tojiga sodiq qoldi va orollarda "shokolad" va "perikon" kabi raqslarni namoyish etgan royalist askarlar. Chilote musiqasining asosiy xususiyati uning hayotiyligi, epchil va jonli tempdagi raqslarda ko'rinadigan fazilatdir.^[25]Chilotes (Chiloe aholisi) tomonidan amalga oshirilgan eng janubiy Chilini mustamlaka qilishning yaxshi qismi, shuning uchun ularning madaniyati ular bilan janubiy Chili bo'ylab, shu jumladan musiqa va raqslari bilan tarqaldi, boshqa tomondan, viloyatlarga kelgan nemis muhojirlari. Valdiviya, Osorno va Llanquihue O'zlarining ba'zi urf-odatlari va asboblarini olib kelishdi, eng ta'sirchan akkordeon mavjud musiqaga tezda singib ketdi.Tipik musiqa va raqslarga quyidagilar kiradi:

• "Pericona"

Chilotes orasida eng mashhur raqslardan biri bu ikkita bo'sh juftlik, qo'llaridagi ro'molcha tomonidan raqsga olinadi. Ehtimol, u Argentinadan "Periko" deb nomlangan va Chiloda rivojlanib, "Pericona" nomini olgan.^[26]

• "El Kostillar"

El Kostillar, so'zma-so'z "mol go'shti yoki cho'chqa go'shti tokchasiga nisbatan" Chillanda va Chilining janubiy qismidagi aksariyat izolyatsiya qilingan joylarda keng tarqalgan raqsdir. Bu totem vazifasini bajaradigan shisha atrofida juftliklar erkin raqsga tushadigan bayramona va raqobatbardosh raqsdir. Shishani taqillatgan juftlik yutqazadi va raqs maydonchasini tark etishi kerak. "Raqobat" raqsi sifatida uni faqat erkaklar yoki aralash juftliklar raqsga olishlari mumkin.^[27]

• "LaTrastrasera"

Mahalliy Chiloe uchun, ammo, ehtimol, mollarini va mollari bilan tog'larni kesib o'tgan haydovchilar tomonidan Argentinadan olib kelingan bu raqs Chiloeda tashkil etilgan va Chili folklorining bir qismiga aylangan. Bu ijro etish oson raqs va uni yosh bolalar uchun ritmik o'yin sifatida moslashtirish mumkin. Harakatlar qo'shiq so'zlaridagi ko'rsatmalarga muvofiq amalga oshiriladi.^[28]

• La trastasera so'zlari:

 
Mariquita dame un beso
que tu mama lo mandó.
 
Tu mama manda en lo suyo
y en lo mío mando yo.
tu mama manda en lo suyo
y en lo mío mando yo.
 
Tras tras por la trastrasera
y también por la delantera,
tras tras por un costao
también por el otro lao.
 
Darán una media vuelta
y también una vuelta entera,
se tomarán de la mano
y harán una reverencia.
 
Tras tras por la trastrasera
y también por la delantera,
tras tras por un costao
también por el otro lao.

• "El Chapekao"

"Chapekao" Mapudungun "braid" degan ma'noni anglatadi va ushbu qo'shiq bilan birga keladigan raqsning tabiatiga ishora qiladi.Qo'shiq gitara yakka chalishi bilan boshlanadi va gitara chalayotgan paytda juftliklar aylanib yurishadi. To'satdan gitara to'xtaydi va raqqoslar u bilan to'xtaydi. Bu uch marta sodir bo'ladi, keyin kubik o'ynaladi va raqsga tushadi, lekin xoreografiya er-xotinlarga sheriklarini almashtirishga imkon beradi. Bir nechta almashinuvdan so'ng, juftliklar ular boshlagan sherik bilan tugaydilar.^[29]

• "El Pavo"

Bu kurka kurorti marosimlarini yoki ispan tilida "el pavo" ni taqlid qiladigan sherik raqsi. El Pavoning musiqasi kyuekaga juda o'xshaydi, garchi unda yakunlovchi kuplet yo'q va uning tuzilishi oktosillab kvatrain va rolloverlarga asoslangan.^[30]

• "Vals chilote"

"Vals Chilote" yoki Chilote Valsi janubiy folklor bilan chuqur ildiz otgan va Chilining markaziy qismida ham keng tarqalgan. Chilote valsida erkak va ayol raqsga tushishadi va asosiy farq odatdagidan farq qiladi Vals shundan iboratki, bu temp yanada ravshanroq bo'lib, natijada juda qizg'in va baquvvat qadamlar paydo bo'ladi.^[31]

• Janubiy Chili musiqa asboblari

Rapa Nui (Pasxa oroli)

Pasxa oroli folklor musiqasi chililik kontinental musiqasidan farq qiladi. Buning o'rniga, orolning an'anaviy musiqasi o'xshash xor qo'shiqlari va qo'shiqlaridan iborat Taiti musiqasi va boshqa Polineziya madaniyatlari an'analari. Oilalar ko'pincha har yili o'tkaziladigan kontsertda ishtirok etib, xor sifatida chiqish qilishdi. Ular qo'shiqlarini a karnay a dan yasalgan konch va a zarbli raqqosa ustiga o'rnatilgan toshga sakrash kaloreya rezonator. Boshqa ishlatiladigan asboblarga quyidagilar kiradi kauaha, dan yaratilgan jag ' ot suyagi; The akkordeon; va perkussiya effekti uchun qarsak chaladigan toshlar. Eng xarakterli raqslar:^[32]19-asrning 40-yillarida paydo bo'lgan "Sau Sau", kelib chiqishi samoa raqsi. Raqs ayollarning nafisligi va shahvoniyligini ta'kidlaydi va xoreografiyada er-xotin kestirib, qo'llarning egiluvchan harakatlarini amalga oshiradi. "Ula ula", Taiti kelib chiqishi raqsi, odatda mahalliy bayramlarda ijro etiladi. Juftliklar yonboshlari yonboshlab, yonboshlab raqsga tushishdi. "Tamure" ham Taiti raqsi, juda tez va akrobatik va yuqori mahoratli raqqosalarni talab qiladi. Yomg'ir, Ukulele, Barabanva nay odatda Rapa Nui musiqasida ishlatiladigan asboblardir.

Sharqiy oroldan musiqa va raqslar

Shahar xalq musiqasi

• "Musica Tipica"

20-asrning 20-yillaridan boshlab Chili xalq musiqasi yoki "Musica Tipica" (an'anaviy musiqa) qayta tug'ilishni boshdan kechirdi. Ushbu qayta tug'ilish qishloq musiqasi va folklorini shaharlarga, radiolarga olib keldi va gullab-yashnayotgan musiqa sanoatining e'tiborini tortdi, bu esa Chilining "Tonada" ning yanada nozikroq versiyalarini oldi va ularni shaharlar uchun tomoshaga aylantirdi. Ushbu uslub bilan bog'lanishi mumkin bo'lgan birinchi guruhlardan biri "Los Huasos de Chincolco",^[33] jamoatchilikni ilhomlantirgan tendentsiyani boshlagan, garchi ularning musiqasi haqiqiy qishloq xalq musiqasi bilan unchalik o'xshash bo'lmagan. 1930-yillarda va undan keyin "kabi guruhlarLos Huasos Quincheros”, “Los Cuatro Hermanos”, “Ester yarasi"," Silvia Infantas y los Cóndores "va" Francisco Flores del Campo "ushbu uslubni saqlab qolishdi va juda mashhur bo'ldi. 1940-1950 yillarda folklor musiqasining ushbu nozik versiyasi asosan o'z estetikasi va vatanparvarlikni nishonlovchi tomosha sifatida milliy timsolga aylandi. Folklorik yo'nalishning xususiyatlaridan biri bu vatanparvarlik mavzularidan foydalanish va qishloq hayotiga romantik, idealizatsiya qilingan qarashdir.^[34] Ushbu idealizatsiya keyingi o'n yilliklar ichida shubha ostiga olinadi Viktor Jara, Violeta Parra va "Nueva Cancion Chilena" harakatini tashkil etgan boshqa musiqachilar.^[35]

La Nueva Canción Chilena

The Nueva Kansioni (Yangi qo'shiq) - bu 1960-yillarning o'rtalarida paydo bo'lgan va nafaqat Chili, balki Lotin Amerikasi va Ispaniyaning qolgan qismini qamrab olgan harakat.^[36] Harakat kuchli siyosiy va ijtimoiy mavzularni o'zida mujassam etgan va siyosiy va ijtimoiy vijdonni ifoda etish vositasi sifatida ishlatilgan.Nueva Canción Chilena (Yangi Chili qo'shig'i) o'z davrining qishloq dunyosiga idealizatsiya qilingan ko'rinishini taqdim etgan folklor uslublarini buzdi. "Fundos" (yirik mulklar) va mamlakatning alohida qishloq joylarida marginal ishchilarning ahvolini e'tiborsiz qoldirdi.^[37]Siyosiy kurash davrida lotin Amerikasi, "Nueva Canción" siyosiy faollik va chililik singari islohotchilar bilan bog'liq bo'lib qoldi Salvador Allende va uning Ommaviy birlik hukumat. Tez orada u Argentina kabi boshqa mamlakatlarda paydo bo'ldi, bu erda harakat "Nuevo Cancionero" deb nomlandi va unga rahbarlik qildi. Mercedes Sosa va Armando Tejada Gomes boshqalar qatorida.Harakatning asoslari sa'y-harakatlari bilan yaratilgan Violeta Parra shunga o'xshash 3000 dan ortiq Chili qo'shiqlari, retseptlari, an'analari, maqollari va folklor belgilarini jonlantirish payadores (improvizator-qo'shiqchilar). Violeta Parra va u singari rassomlar aksariyat shaharlarda ko'plab chililiklar uchun noma'lum bo'lib qoladigan folklor an'analariga vosita bo'lib xizmat qilishdi. Violeta Parra va uning ukalari Chilining boshqa muhim folklor san'atkorlariga yo'l ochdilar Rolando Alarkon, Payo Grondona, Patrisio Kastillo, Gomero Karo, Tito Fernanes, Kiko Alvares, Patrisio Manns va Vektor Jara. Jara emerged as one of the major voices of the Nueva Canción and began its traditions of criticising government officials and policies.Since September 1973, the new military government of Augusto Pinochet threatened Nueva Canción artists, driving them underground during the 1970s. Cassette tapes of artists like Inti-Illimani va Quilapayun were circulated in a clandestine manner. The groups continued to oppose Pinochet's government from exile, and helped inspire Nueva Canción singers from Urugvay (Daniel Viglietti), Salvador (Yolocamba l'ta), Gvatemala (Kin-Lalat), Meksika (Amparo Ochoa), Nikaragua (Carlos Goodys va Luís Enrique Mejía Godoy), shu qatorda; shu bilan birga Kuba Nueva Trova kabi rassomlar Pablo Milanes.

Ommabop musiqa

Rok-roll

Piter Rok

Los Anxeles Negros

Los-Tres

Los Prisioneros

Rock and roll music was first produced in Chile in the late 1950s by bands that imitated and were inspired by international rok-roll hits from the U.S., often translating these songs for the Chilean market. This movement was known as the Nueva Ola (New Wave).^[38][39] During the second half of the 1960s, after the success of rock and roll music, the Fusión latinoamericana (Latin American fusion) and Nueva Kansioni (New Song) genres were born in Chile, bringing together rock and roll and Latin American folk music. Los-Jayvas are an example of this fusion between the two convergent styles.

In the 1970s, however, the country's rock scene declined due to political repression^[40]The 1980s saw the beginning of a revival of rock music in Chile which has continued until the modern day, with the growth of many rock subgenres and many Chilean bands finding success on the international market in recent years.Some of the most successful Chilean rock bands are: Los Prisioneros, Lucybell, La Ley, Javiera Mena, Frensiska Valenzuela, Los-Jayvas, Los-Tres, Chancho va Piedra, Paniko, Sol y Lluvia, Nikol (Chililik qo'shiqchi), Los Miserables, Buddy Richard.

Xip-xop va rep

Since the mid to late 1980s, Hip Hop music have had a considerable influence on the Chilean music scene and culture. People of Chile had their first contact with this genre through the television and radio. First to appear and gain popularity were Breakdance and breakers groups: “Montaña Breakers”, “B14”, “T.N.T.”, “Floor Masters”. Breakers from all over the capital would gather in Bombero Ossa Street in Central Santyago to share music and have breakdance “battles”.^[41] Then came the first Chilean rap groups, such as “Los Marginales” and “Panteras Negras”. The return of immigrants after the end of the dictatorship could also have been a factor that increased the popularity of hip hop and rap, with examples such as Jimmy Fernandez (ex La Pozze Latina) returning from Italy, or “Floor Masters” front man who came from Los Angeles. However, it wasn't until the mid-1990s that hip hop gained mainstream popularity with successful groups such as Tiro de Grasiya, MC Rode, Los Tetas, Makiza, Zaturno va La Pozze Latina. Commercial success was confirmed in 1997, when “Tiro de Gracia” and “Makiza” got Golden and Silver Discs and filled venues along the country.During the 2000s, some bands connected hip hop with other styles like dancehall, reggae, and Latin rhythms. Also in the 2000s, political rap became popular, with groups like, “Panteras Negras”, “LB1”, “Subverso”, “Guerrillerokulto” and “Salvaje Decibel”. Como Asesinar a Felipes birinchi Eksperimental hip-hop band that has achieved a considerable success, being produced by Koolarrow Records. Most recently, Chilean rapper Ana Tijoux (formerly of Makiza) has become one of the most successful rap artists, collaborating with Mexican musician Julieta Venegas and having tracks featured on the EA Sport video O'YIN FIFA 11. Her music has appeared in the popular TV series Barcha mashaqqatlar ila (4-fasl, 5-qism).^[42]

Chilean electronic music

Villalobos at Fabric

Lucien N Luciano, also known as Luciano (2007)

Jorge Gonzalez, the leader and voice of Los Prisioneros

The electronic music movement as we know it today reached Chile in the 1990s, but there are some earlier milestones worth mentioning, like the sound experiments of engineer and scientist Jose Visencio Asuar in 1959 after the 1958 visit of physicist Verner Meyer-Eppler, and the production of the first electronically generated music records in the 1960s.^[1]

“Electronica” has given Chile more international success than any other style of music; Chilean DJs and electronic music producers are among the most important in the international scene.Many Chilean DJs are based in Europe, particularly in Germany. Some were children of political exiles while others moved to Europe to develop their careers and then stayed following their great success.Some of the most important and best known electronic music artists are: Rikardo Villalobos, Andres Bucci, Cristian Vogel, Lotin Bitman, Danieto, Luciano, Pier Bucci, Nicolas Jaar va Xorxe Gonsales.

Chili kumbiyasi

Chiko Truxillo

La Noche

Amerika

Mano Ajena

Cumbia style has its origins in the caribbean climates of Colombia, Venezuela and Panama, and was introduced to Chile in the mid 1960s by the Venezuelan Luisín Landáez.^[43] Later in the same decade, Colombian musician Amparito Jiménez would record and release albums in Chile and had great success with the song “La pollera colora”, one of the most emblematic Colombian songs. Later, the Chilean band Sonora Palacios would bring cumbia to mass popularity among the Chilean population.^[44] Since the beginning, Chile has developed its own kind of kumbiya known as "cumbia sonora"yoki shunchaki"traditional Chilean cumbia", with long standing orchestras such as Orquesta Huambaly, La Sonora de Tommy Rey, Sonora Palacios, Los Vikings 5, Giolito y su combo va Pachuco y la Cubanacán. These have been some of the most popular acts in the last 50 years and still enjoy mainstream popularity, seen as part of Chile's musical culture and identity. Chilean cumbia added brass instruments, piano and a faster percussion to the original cumbia style. The process of adaptation and evolution created a sub style that can be easily identified from the original. Chilean cumbia bands are called “Combos”, “Sonoras” or simply “Orquestas” (orchestras) and are formed by 10 or more musicians where the brass and the drums have an important role. Cumbia developed this orchestral performance style in the 1960s, adapting from the tropical orchestras that had played rhythms such as the cha-cha-cha, mambo, rumba, bolerova merengue in the 1920–1940s. Some subgenres that were not originally from Chile also became popular in the country: In the 1990s, cumbia sound, known in other countries of Latin America as Texnokumbiya, is a style of dumbia where there is a fusion between electronic sounds generated by electronic drums, and electric guitar. "Technocumbia" was a name given to the subgenre in Mexico to describe this type of music. However, the style was developed throughout South America with different names: “Sound” in Chile. emerged, a style where great emphasis was placed on the (usually romantic) lyrics and where the artists can be a solo male or female singer rather than a band. Unlike Technocumbia, cumbia romantica arrangements tend to be acoustic. Some performers in this subgenre are La Noche va Amerika). Also in the 2000s, a style called Yangi Chili kumbiya or “Cumbia Rock” emerged, led by bands like (Chiko Truxillo, La Mano Ajenava Juana Fe). This new Chilean cumbia is highly influenced by rock and some hip hop groups, although in some cases the influence of Andean music, Balkan music Klezmer, Salsa va Bolero eshitilishi mumkin. It main exponents are Chiko Truxillo, Banda Konmocion, Juana Fe, La Mano Ajena, Cholomandinga, Villa Karino, Combo Ginebra, va boshqalar.

Chilida Meksika musiqasi

Ushbu bo'lim kengayishga muhtoj. Siz yordam berishingiz mumkin unga qo'shilish. (May 2020)

Chilean Jazz

La Marraqueta in the Festival Internacional Providencia Jazz 2017

Amaliyot jazz is one of the most popular manifestations of popular music in Chile. The most regular tracks appear towards the 1920s around the figure of the composer, violinist and researcher Pablo Garrido, manager of the first ensembles and local jazz orchestras. From 1940, a new generation of young musicians aligned themselves with jazz improvisation beyond the predecessor jazz, which they considered commercial, baptizing it hot jazz. Buning asosini tashkil etishga olib keladi Club de Jazz de Santiago in 1943 and the formation of the first national all-stars, The Chilean Aces of Jazz, in 1944 and 1945.

Modern jazz broke into the 1960s at the initiative of the pianist Omar Nahuel, boshida Nahuel Jazz Quartet. The band was not only a pioneer in the development of new jazz forms, such as bebop yoki salqin, but also brought together enthusiastic musicians of the figure of Charli Parker va uning avlodlari. In the 1970s, as in the rest of the world, the electric jazz installed a new expressive form and gave rise to new soloists in Chile.

Since the 1980s, jazz has had in Chile the possibility of training professional musicians thanks to the creation of ProJazz, Escuela Moderna de Música and the School of Music of the SCD, which has allowed the development of the jazz language during the following decades. Ning yaratilishi bilan Festival Internacional Providencia Jazz in the year 2002, along with other communal festivals, jazz has achieved greater diffusion for the non-expert public in the 21st century.

Currently, the national scene stands out for the multiplicity of styles, among which stand out: the group La Marraqueta in the avant-garde of the so-called jazz criollo, a wide variety of groups in the Latin American fusion, and the katta guruhlarkabi Conchalí Big Band yoki Los Andes Big Band, in the traditional jazz as bebop yoki belanchak.

Among the figures of contemporary Chilean jazz stand out: Xorxe Vera, Rikardo Arancibia, Mariano Casanova, Cristián Cuturrufo, Federico Dannemann, Sebastián Jordán, Mario Feito, Xristian Galvez, Pedro Greene, Martin Joseph, Ronnie Knoller, Lecaros Family; Mario Lecaros, Pablo Lecaros, Roberto Lecaros, Agustin Moya, Gonzalo Palma, Ángel Parra Orrego, Andres Peres, Lautaro Quevedo, Felipe Riveros, Karla Romero, Moncho Romero, Melisa Aldana, Miguel Sacaan va Nicolás Vera, Xose Gil, Antonio Lambertini va guruhlar La Marraqueta, Contracuarteto, Los Titulares, Holman Trío, Caravana Trío va Ensemble Quintessence, boshqalar qatorida.

Academic music

Klaudio Arrau, a great pianist of the 20th century

Since the beginning of the Chilean republic, the need for highly trained musicians in educational institutions and in the classical music scene was evident. Initially, this need was fulfilled by artists coming from nearby Peru (Viceroyalty of Peru), both former important viceroyalties of Spain. In 1823, a wave of professional musicians came to Chile, including: Bartolome Filomeno and Jose Bernardo Alzedo from Lima, Peru; and the Spaniard,^[10]

From 1900 onwards, music began to take a more central place in Chilean society. In 1912 the “Orchestral Society of Chile” was created and, over the next year, performed the nine symphonies of Beethoven, published the journal “La Orquesta” (The Orchestra), and debuted performances of Bach.Once the influential families got involved in the music scene, musicians’ reputation in society started to change - previously seen as undesirable, or just entertainers, they started to be viewed as an important part of culture, and having musical knowledge became essential for the cultured person.The most prolific period of classic music in Chile began in the 1950s, with the founding of several projects aiming to educate, promote and research music, along with the implementation of educational reforms and the foundation of Youth and Children's Orchestras - like that created in the city of La Serena, dirijyor va bastakor boshchiligida^[45] Jorge Peña Hen. This process continued until 1973 when political repression hit culture and music across the board. The music industry, live performances, the media, and even musical education were affected, with musical education officially suppressed as a mandatory high school subject.^[46]One of the most traditional classical music events in Chile is the “Semanas musicales de Frutillar” (Frutillar musical weeks) in the southern city of Frutillar yilda Los-Lagos viloyati (Region of the Lakes). The festival take place between January and February every year, and consists of 40 or more classical concerts performed by both Chilean and international artists. The construction of a new venue, the Teatro del Lago (Lake Theatre) which opened in 2010, has given the festival a boost, providing space for more performances and larger audiences.Since the 1990s, classical music has slowly recovered its place in Chilean culture and education, with projects like “FOJI” (the Foundation for Youth and Children's Orchestras), a non-profit organization that works to form orchestras and educate young people in several cities around Chile. Their programme reaches more than 12,000 teens and children every year, and their orchestras perform concerts that reach an audience of almost a million.^[47]Among the best known Chilean classical composers areXose Zapiola Kortes, Enrike Soro va Pedro Humberto Allende. Allende put special effort to include some elements of Chilean tradition and folklore in his work, with works such as the symphonic poem “La Voz de las Calles” (The Voice of the Streets); “Doce Tonadas para Piano” (Twelve Tunes for Piano); and the “Concierto Sinfónico para Violoncello y Orquesta” (Symphonic Concerto for Cello and Orchestra), whose rhythmic richness was praised by Klod Debussi. Other important Chilean composers include Visente Byanki known for his compositions based on Pablo Neruda poems; Alfonso Leng, one of the most influential Chilean classical composers with a mystic and romantic style influenced by Vagnerian Post-romantizm; Luis Advis Vitaglich, known by his work (“Cantata de Santa Maria de Iquique”); Karlos Risko; Domingo Santa Kruz Uilson; Roberto Falabella Correa; Nina Frick Ajenjo; Karlos Isamitt; Xuan Orrego-Salas; Alfonso Letelier; Gustavo Bekerra-Shmidt; Serxio Ortega; Leon Shidlovskiy; Leni Aleksandr; Fernando Garsiya; Xuan Allende-Blin; Cirilo Vila; Santyago Vera-Rivera; Andrés Alcalde; Rene Amengual; Próspero Bisquertt; Gabriel Brncic; Salvador Candiani; Acario Cotapos; Alejandro Guarello; Hans Helfritz; María Elena Hurtado; Tomás Lefever; Eduardo Maturana; Klaudio Spies; Xorxe Urrutiya Blondel va Darwin Vargas, boshqalar qatorida.

Among the most prominent conductors are Fernando Rosas Pfingsthorn, Armando Carvajal, Xuan Pablo Izquierdo, Sebastián Errázuriz va Víctor Tevah.One of the best-known performers is pianist Klaudio Arrau,^[48] known for his vast repertoire spanning from barok ga 20-asr composers, especially Betxoven, Shubert, Shopin, Shumann, Liszt va Braxlar. He is widely considered one of the greatest pianists of the twentieth century.^[49]Other great include Rosita Renard, Oscar Gacitúa Weston, Roberto Bravo, Elena Waiss, Elisa Alsina, Liza Chung, Alfredo Perl va hozirda Valentin Truxillo, who has interpreted a repertoire of classical as well as popular music, and is well known for taking part in television programmes.

Today, Chilean classical music has had a strong boost thanks to the efforts of the International Society for Chilean Music (SIMUC)^[50] and outstanding performers such as Luis Orlandini, Evlogio Dávalos Llanos, Nicolas Emilfork, Romilio Orellana, Karlos Peres, Cristián Alvear Montecino va Juan Antonio Escobar. These have had a significant influence on the work of younger composers, such as: Xuan Antonio Sanches, Antonio Restucci va Horacio Salinas, who have moved beyond their classical education to incorporate folk and fusion music.

Shuningdek qarang

• Pasxa orolining musiqasi
• Yangi Chili kumbiya
• Chilean Electronic Music
• Chili toshi
• Chili yoshlar va bolalar orkestrlari fondi
• Nueva Canción Chilena

Izohlar

Adabiyotlar

• Brill, Mark. Lotin Amerikasi va Karib havzasi musiqasi, 2-nashr, 2018. Teylor va Frensis ISBN 1138053562
• Feyrli, yanvar. "Murosasiz qo'shiq". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), Jahon musiqasi, jild 2: Lotin va Shimoliy Amerika, Karib dengizi, Hindiston, Osiyo va Tinch okeani, 362-371 betlar. Rough Guides Ltd, Pingvin kitoblari. ISBN 1-85828-636-0
• Samuel Claro Valdés, Jorge Urrutia Blondel, “Historia de la Musica en Chile”, Universidad de Chile, Instituto de Investigaciones Musicales, ORBE (Ed.) – Santiago, Chile, 1973.

Tashqi havolalar

• Musica de Chile (ES) - Web dedicated to Chilean music
• Orgullo Nacional (ES) - Chilean music radio
• Musicologia (ES) Chilean music magazine
• Sociedad Chilena del Derecho de Autor (ES) (Copyright Chilean society)
• Musica Popular (ES) - Chilean popular music encyclopedia
• Memoria Chilena (ES) - Web dedicated to Chilean culture
• Nuestro (ES)Chilean Cultural Heritage Gateway
• Chile Culture, Arts music and Literature (ES)- Chile Cultural Society
• Music of Chile - Web dedicated to promote Chilean Culture