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This chapter explores the popular genres of the Andean music scene, which includes chicha, pan-Andean music, indigenista folklore, and huayno. It begins with an overview of huayno, followed by the development of the indigenista music and rise of the pan-Andean music. The role of recordists and record labels in huayno’s musical development is also discussed. The chapter ends by describing the aesthetic parameters of chicha music and huayno norteño.

This chapter focuses on the radio, the main channel through which musical sound can be accessed and the key medium in promoting contemporary Ayacuchano huayno. It describes the role of radio broadcasting in shaping the public image and listenership of Ayacuchano huayno, and examines the ways in which the radio DJ’s on-air performances, musical ideologies, and broadcasting patterns shape huayno’s public meanings.

This book discusses the circulation of Andean popular music within the changing social landscape of Peru. Focusing on Ayacucho’s huayno music, it discusses the nature of musical creation and distribution in contemporary Peru, and how Andean migrants changed the public culture of Lima and Peru at large.

This chapter outlines the historical factors that weigh upon the contemporary significance of Ayacuchano music in Peru’s public sphere. It discusses the recording of huayno music; the recent approaches to the globalization and cosmopolitanism of Andean music; some perspectives on race, power, geography and cultural transformation; and the development of popular music in twenty-first-century Peru.

This chapter discusses Andean intellectual life in twentieth-century Ayacucho, when local discussions about traditional huayno style set the terms in which future generations would interpret it. These discussions took place in events organized by Centro Cultural Ayacuchano, a society of enlightened aristocracy that was tied obliquely to Peru’s contemporaneous indigenista movement. The chapter also discusses the foundations of huamanguinismo, including the sounds, images, and ideas that separated true huamanguinos from those who were not.

This chapter discusses music recording and the marketing process that follows. It explores the sudden interest in Ayacuchano music, and the patterns of recording and distribution of Andean commercial music. The chapter focuses on the role of the record label Dolby JR in making contemporary Ayacuchano huayno successful in the 1980s, 1990s, and 2000s.

The opening section of this chapter introduces the reader to the Andean conjunto tradition, especially its Bolivian variant, and lays out the book’s three major contributions. The second section discusses the folklorization process, and explains how it relates to the major case studies that the book covers. The final two sections of this chapter provide historical background on pre–20th-century La Paz. The first one discusses the Bolivian state’s antagonistic relationship with the indigenous population from the founding of the Republic of Bolivia (1825) to the late 19th century. The concluding section, after explaining how the central district of La Paz city was segregated along ethnic lines, provides an overview of the forms of musical expression that criollo (“white”), mestizo, and indigenous people practiced in urban La Paz in the 19th century.