The political situation of Chile in the 1960s and the political expressions in the music of the singer Violeta Parra and of workers in exile contributed in a large measure to the development of the Nueva Canción movement of the period 1960-85. This movement looked toward a common language and a universal musical expression that included indigenous musical instruments such as the quena, charango, guitar, and bomba. Musical groups such as Inti-Illimani and Quilapayún created a musical language derived from folk and popular music sources, in addition to other, innovative elements. Musical instruments were selected mainly on the basis of their cultural significance. In order to project a pan–Latin American identity through music, the Nueva Canción movement pursued what is described as 'maximal homogeneity'. To achieve their universal purpose, even classical music was not totally ruled out.
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|Titolo:||Sobre la "orquesta" en la Nueva Canción Chilena|
|Data di pubblicazione:||1986|
|Appartiene alla tipologia:||01a Articolo in rivista|