Table of Contents Local and Global Understandings of Creativities VII

vi

Waitingfor the sea to dry up: The Tragedy ofütranto in the Light Part 111: Multipart Music and Religious Practices
of Contemporary Creative Vocal Practices 101
Eckehard Pistrick and Bledar Kondi Byzantine Chant, the Ison, and Arberesh Liturgical Chant 266
Eno Ko90
Part 11. 2. Procedures, Techniques, Revivals
Polyphony ofVoices in Jewish Religious Traditions .............................. 282
Female Polyphony in Northem Portugal: A Morphology of the Voices .... 118 Bozena Muszkalska
Anne Caufriez
Part IV: Local Multipart Music Awarded
Constructing Communal Action: Multipart Singing in Parallel Fifths
in the Western Mediterranean ----------------------·-···································· 137 Sutartines, Lithuanian Multipart Songs in UNESCO's Intangible
Jaume Ayats Cultural Heritage List: Winning and Risk. 294
Daiva Raciünaité-VyCiniené
From Monody to Polyphony: A Creative Path inside the Experience
of Genoese Trallalero (Italy) ................................................... . 149 Multipart Singing in Latvian Traditional Music: Awards and Everyday
Mauro Balma Practice .................................................................................................... 314
Anda Beitane
Two Part Singing in Parallel Movement in Romagna:
The Present and the Past. ......................................................................... 177 Romani Songs as Intangible Cultural Heritage in Austria ....................... 330
Cristina Ghirardini Ursula Hemetek

Microcreativity: Vocal Releases in cauda as Stylistic Marks Contributors ............................................................................................. 346

in Sardinian a tenore Singing. 194
Paolo Bravi List of Audio Examples ........................................................................... 353

Dimensions ofCreativity in the Derivation, Formation and Modification Index ........................................................................................................ 362
ofMusical Practice: The Cycle ofSpring Rejoicing Songs
in South-West Latvia ............................................................................... 210
leva Pane

Mikarayag: Clapping and Singing Gatherings of the Tao;

Individual Creativity within the Collective Act... .................................... 232
Wei-Ya Lin

Folk Music Revival in Argentina: The Arrangement ofVocal

Melodies ........................... -----------------------------··-······································· 250
Enrique Camara de Landa

FOLK MUSIC REVIV AL IN ARGENTINA:
THE ARRANGEMENT OF VOCAL MELODIES
ENRIQUE CÁMARA DE LANDA
Introduction: Folk revival-proyecciónfolklórica
The following observations are rooted in sorne concepts related to the study
of musical nationalism and its concomitants or derived manifestations:
folklorism, universalism, historicism, picturesqueness, traditionalism,
populism, literature of manners, new meanings, ancestralism, hybridization,
syncretism, transculturation, projections, emblematization, popularization of
models, and other phenomena and interpretative categories. I will deal
here with sorne facts verified in Argentina m¡iinly during the second half
of the twentieth century, which were rooted in different but similar
processes related to cross-cultural contact. The first process of folk music
reviva! started in Argentina at the beginning of the 201h century, under the
pressures of the traditionalist movement generated by local intellectuals
and scholars as a reaction to the consequences of dense migratory fluxes
which had changed the country's ethnic and social composition. The
nationalist scholar Ricardo Rojas wrote:
Si el pueblo argentino prefiere una vocación suicida, si abdica de su
personalidad e interrumpe su tradición y deja de ser lo que secularmente
ha sido, legará a la historia el nuevo ejemplo de un pueblo que, como
otros, fue indigno de sobrevivirse, y al olvidar su pasado renunciará a su
propia posteridad. (Rojas 1909 in Vega 1981 , 26).
If the people of Argentina prefer a calling to cultural suicide, abdicating
the country's character, disrupting tradition, and ceasing to be what is has
been for centuries, then Argentina will become another example of a
country that, like others, is unwo11hy of survival. Forgetting its past,
Argentina will renounce its own posterity.
Enrique Camara de Landa 251
lnspired by the callings to action proposed by Rojas and other nationalist
scholars, many intellectuals started to organize Centros Criollos-Creole
centres-in which local dances were practiced. Meanwhile, sorne Argentine
artists joined the stream of musical nationalism adopting elements of
traditional genres and repertoires for their classical compositions. Alberto
Williams, for example, used the rhythm of huella-a traditional music
genre-for the central section of his piece for piano El Rancho
Abandonado (considered as the paradigm of musical nationalism in
Argentina). He also wrote many milongas and vidalitas (other music
genres developed in the country sorne time before). This musical trend
continued throughout the century in dialogue with other schools of
composition. Other scholars and artists-like Andrés Chazarreta or sorne
members of the Podestá family- promoted the diffusion of traditional
music through its performance in theatres and the Creole circus. From that
moment on, successive generations of musicians arranged and performed
traditional songs, or they created similar new ones, sorne of which
retumed to rural places through the mass media. The exchanges between
rural and urban settings was an element of richness in the recreation of the
repertoires which Argentine people called 'folklore' (very often without
taking into account the differences between the pieces created and
performed in both milieus 1). The scholar Carlos Vega wrote: "It is not
possible to know how the audiences carne ·to believe that folklore was
popular music and dance, and that the folklore activity consisted of singing
and dancing .... None of that is real folklore. [Sin que se pueda averiguar
cómo, el público acabó por creer que el folklore era la música y las
danzas populares y que la actividad folklórica consistía en cantar y
bailar.. . Nada de eso es folklore propiamente dicho.]" (Vega 1960, 194)
Because of these exchanges, it is not easy today-and perhaps not even
useful- to establish differences between the repertoires created in urban
and rural contexts. Outside the classical music domain, during the l 960s
and l 970s the expression 'proyección Folklórica '-literally 'projection of
folklore'-was used to name these elaborations and recreations of
traditional music. This category had been coined by Vega (1944) for
indicating the uses and repercussions of traditional folklore in the realms
of politics, ethics and aesthetics. In 1961 Lázaro Flury added a fourth
element (social projection). Two years before Augusto Raúl Cortazar
( 1959) had proposed a more specific meaning of the expression using two
terms (folkloric and popular) which at that time were considered
synonymous by many scholars. Cortazar re-elaborated this concept in
1969, again specifying the main elements which characterize a
phenomenon that in other countries was going to be called 'folk reviva!'.
 252 Folk Music Reviva! in Argentina: The Arrangement ofVocal Melodies
Many scholars in Latin American countries applied the expression coined
by Vega to different repertoires, or they proposed sorne theoretical
specifications or enlargements of it: Oiga Femández Latour de Botas
( 1969) elaborated a taxonomy of folk projection phenomena; Isabel Aretz
( 1975) included the phenomenon of projections in the classificatory guide
of traditional oral culture; Celso Lara (1975) specified the differences
between folk projection and folk element; Ariel Gravano (1983) addressed
historical and theoretical aspects of the subject; Enrique Cámara de Landa
( 1999) developed the issue of projection as cross-cultural communication;
María Inés García ( 1999) studied the renewal of musical language by one
of the founders of the movement called "New Song" (composer Tito
Francia); Fabián Pinnola (1999) alluded to theoretical problems and
terminological related to quotations of 'tango' and 'folklore' music in
Argentine rock; Emilio Portorrico (1997) dealt with historical and
biographical aspects of 'Argentina's folk roots music', and Ricardo
Mansilla (2005) developed sorne terminological and conceptual
clarifications of processes such as arrangement, transcription, adaptation,
harmonization, instrumentation, orchestration, reduction, variation,
paraphrase, parody, pasticcio, contrafactum, and version.
1 am taking into account sorne of these proposals for this paper, in
which 1 focus on the main musical traits ' of the multipart singing
procedures used by the performers of Argentine proyección folklórica.
This expression was adopted with a narrower meaning by sorne musicians
at the end of the Sixties to indicate their way of performing folk pieces by
adopting musical traits and formal procedures from the classical or jazz
domains. However, the history of Argentine folk reviva! started many
decades before that moment.
Multipart singing arrangements in the Argentine
folk revival
Traditional singing in Argentina is mostly monophonic. In north-westem
provinces, sorne heterophony is produced in collective performances ofthe
local genres called coplas and bagualas. Moreover, in many musical
genres of this country, when two different vocal lines are present, they are
at a distance of a third, as is the case in many genres of traditional music
ali over the world. This particularity can be seen in vocal and dance genres
like zamba, gato, cueca, chacarera, escondido, tonada bailecito, vida/a,
and so on. One example from a vida/a is that entitled En una tarde muy
triste ... (On a very sad aftemoon ... ) performed by César Ibáñez and
Desalín Ibáñez (see CD 24).
Enrique Camara de Landa 253
An exception to this general rule is the parallelism of sixths, which is
practiced both in the Paraguayan polca (an emblematic genre belonging to
Paraguay which was adopted in Argentina) and the chamamé (a song and
dance genre derived from the Paraguayan polca). Both genres are
performed mostly in the Argentine north-eastem province of Corrientes.
An example of the polca is called Tu ausencia es mi dolor (Your absence
is my pain) performed by Silvestre López, Luis López, and Jorge Aguirre
(see CD 25).
This kind of music was performed in Buenos Aires in 1911, when
Chazarreta organized shows in theaters with traditional musicians from
northem Argentina. This activity led to the formation of groups of folk
music reviva! that reproduced these traditional styles, sometimes by
introducing sorne changes. Los Hermanos Ábalos- The Ábalos
Brothers-, for example, played the piano together with folk instruments,
but they respected the traditional vocal styles. One example is Chacarera
del Rancho (Chacarera ofthe Ranch) performed by Los Hermanos Ábalos
(see Los 33 Años de Los Hermanos Ábalos, track 6 or http://www.youtube.
com/watch?v=tu7JoJpPijl).
Sorne years later, a big flux of groups, most of them belonging to the
north-westem Argentinian province of Salta, inundated the urban and
metropolitan market, proposing traditional musical pieces together with
new ones in which the literary contents were created by artists like the
Dávalos brothers, César Perdiguero or Manuel J. Castilla. The leadership
of this movement was in the hands of two groups: Los Chalchaleros (from
the name of a local bird) and Los Fronterizos (fromfrontera - frontier),
which in the beginning of the Sixties (when the 'folklore boom' started in
Argentina) represented the traditional and the avant-garde tendencies
respectively. Both groups had four members who sang and played guitars
and the Argentinean drum called bombo legüero. Los Chalchaleros, who
had started to perform in 1948, mostly used parallel thirds in a way close
to the tradition of their province, but they developed sorne traits which
became their' distinctive mark, like that of intentionally omitting the last
syllable of a line in order to avoid singing out of tune, as they admitted in
an interview. The Zamba del cha/cha/ero (Chalchalero's zamba) is
performed by this group (see Los Cha/cha/eros. .. 1988, track A.2 or
http://www.youtube.com/watch?v=if2nTxl8R84).
Los Fronterizos adopted sorne other vocal devices: ornamental designs
in the second part, a third part singing in thirds not only below the
principal melody but also over it 2 and a fourth part doubling the principal
melodic line an octave below. Sometimes, the four soloists sang
onomatopoeias of musical instruments, producing vertical fourths and
254 Folk Music Reviva( in Argentina : The Arrangement ofVocal Melodies Enrique Camara de Landa 255

fifths and hints of counterpoint, as we can hear in their version of the
zamba Recuerdo salteño (Souvenir from Salta), where voices imitate the
guitar plucking usually performed in the introduction to this kind ofpiece3 .
The lyrics by Ramón Burgos and the music by Marcos Tames are
presented by Los Fronterizos (see Folklore para todos, track A. l or
http://www.youtube.com/watch?v=dEsJ2Xk6Xfs).
.com/watch?v=7ZfuqAMXhhQ) Chango Farías Gómez made also an
arrangement for 5 solo parts of the Misa Criolla (Creole Mass), composed
in 1963 by Ariel Ramírez following the recommendations of the Vatican 11
Council and using musical structures belonging to the South American
tradition for the Ordinary of the mass.
In 1956 a vocal quintet was first created under the name of Los
trovadores del Norte (The Troubadours of the North) and then Los
trovadores (The Troubadours). They used almost exclusively voices,
producing a five-line vocal polyphony, as in Puente Pexoa, with text by
Armando Nelli and music by Tránsito Cocomarola (see Los triunfadores
de Cosquín y sus grandes éxitos, track l. l or http://www.youtube.com/
watch?v=lx_4o8PzTvc).

~"'e--Soe·i·ufml
~- . .": 5tl

LOS
I) TRIUNFADORES
DE COSQUIN

Fig. 1. Vinyl cover of the LP Folklore para todos (No year). Photograph by
Graciela Restelli.4
-......
llVl•n "•o•
~".."'""""'-1~

....."'.
.,......,. ,~•••cofQtH#I

. . "'""IMMllft

..,,....,¡p,.
• . .Ul.&fli

--............
...................
• .,. . . . . . C.11
'"'•li~•'"''~
Man y other groups were active in those years, sorne of them reaching a
...... -••uttuu
good leve) of audience, like Los Huanca Hua-which, in the Quechua ---........ 1111 o.....,~

language, means 'The sons of Music' -, an ensemble in 1960 and active ....""
..........
~
~~- ~ . ,_...
until 2004. In the arrangements made by their first leader, Chango Farías
Gómez, we find a constant use of phonemes and onomatopoeias for
rhythmic and percussive purposes, as we can hear in the chacarera De mis
H . .......
....
~
~
~
....
,.,..........
............
,

~.
-~

pagos (From My Land)-a traditional dance in which the singing

complements the sound of the guitar and the bombo-accompanying the
solo melody in the verses and providing the music in the interludes. Fig. 2. Vinyl cover of the LP Los triunfadores de Cosquín y sus grandes éxitos (No
Complete triad and dominant seventh chords are present too (see Los year). Photograph by Graciela Restelli.
primeros éxitos de "Los Huanca Huá ", track B.4 or http://www.youtube
256 Folk Music Reviva) in Argentina: The Arrangement ofVocal Melodies Enrique Camara de Landa 257

Other groups which followed this trend were Los Andariegos, Los arrangements 5 . Thanks to an extremely disciplined rehearsal schedule
Indianos and Los nocheros de Anta. From its creation in the 1940s conducted by Pedro García Caffi the Cuarteto Zupay presented a chamber-
onwards, the Cuarteto Gómez Carrillo (Gómez Carrillo Quartet) had 1ike style of song from the rural folk and urban popular and classical music
placed itself in a kind of an intermediate position between that of tradition. Even if sorne classical and folk musical instruments were
nationalist composers of classical music and that of folk reviva! groups by sometimes performed, vocal arrangement was the main element in their
performing arrangements of classical music (from the 141h to the 201h performances.
centuries), traditional music from Latin America-including Brazil- and
the USA, and even popular pieces and jazz, in a multipart singing style
similar to that of sorne groups in other countries. Since they started to
perform sorne time before other groups in Argentina, and they did not use
"<..,,..c_a ~ie:-~oo ~
musical instruments, they were- in a way-the precursors of the multipart
singing styles in the Argentinian folk music reviva!, including the
performing of nonsense syllables to imitate musical instruments. In their
version of the traditional song Dos palomitas (Two Pigeons) in the track
A.1 of the Cuarteto Gómez Carrillo (to be heard on http://www.
youtube.com/watch?v=iLb6eikZ_fY as well) they altemate complete three
and four-tone chords with a counterpoint ofthe bass against the other three
which sing in homorhythmic style (see http://gruposvocales.blogspot
.com.ar/search/label/Cuarteto%20Vocal%20G%C3 %B3mez%20Carrillo).
In the Grupo vocal argentino, the predominance of vocalism is
mentioned in the name ofa group (literally ' Al-gentinian vocal group') and
is the only sounding device, since they did not use instruments. In this
way, they consolidated the introduction in the Argentinian folk reviva! of
procedures belonging to classical chamber choir harmony. In the
arrangements of Chango Farías Gómez (who also created this group) we
hear both the expansion of the register of the masculine voice, through the
extensive use of falsetto tenor and deep bass, as well as the frequent and
unexpected modulations of tonality. These characteristics can be heard in
Zamba de los y uyos (Zamba ofthe Herbs), with text by Adolfo Abalos and
Hermanos Abalos and music by Adolfo Abalos, for example (see track
A.1 of Grupo vocal argentino or http://www.youtube.com/watch?v=xst
OxX7BKN4&feature=related).
Even if it was highly valued by critics, the Cuarteto Gómez Carrillo
Fig. 3. Vinyl cover of the LP Grupo vocal argentino (1966). Photograph by
did not reach a high leve! of popularity, since their performances were
Graciela Restelli.
followed by a minority audience. The Cuarteto Zupay (Zupay Quartett), by
contrast, was very popular from their creation in 1966 until their
Their first two albums were entitled Folklore sin mirar atrás (Folklore
dissolution in 1991. During those years of intense activity, this urban
Without Looking Back) (1 51 volume 1967, 2"d volume 1968), in
group, whose name was taken from an Andean deity, reinvented its
corresponqence with the group' s ideas, the main one being the assertion of
musical style many times, always respecting sorne distinctive traits and
the right to be creative. Since people were calling ali the products of the
sometimes collaborating with other well-known artists. They sang a contemporary folk music reviva! movement 'folklore' , the expression
cappella with a highly elaborated vocal style which was based on written 'proyección folklórica ' emerged again with a new meaning: the explicit

258 Folle Music Reviva) in Argentina: The Arrangement ofVocal Melodies
reinvention of musical language structures in the arrangements of
traditional repertoire. An example from the first recordings is Zamba del
Nuevo Día (Zamba of the New Day) with text by Armando Tejada Gómez
and music by Osear Cardozo Ocampo, performed by Cuarteto Zupay (see
Folklore sin mirar atrás, vol 1, track A.3 or http://www.youtube.com/
watch?v=K31CG6nyY3k).
In this piece they respect the musical structure ofthe traditional zamba,
and they perform it by altemating monophonic and polyphonic (mainly
homo-rhythmic) textures and making permanent use of modulations (listen
to the keyboard and high electronic sounds in the subtle instrumental
accompaniment). The end of this zamba pays homage to the Baroque
museme, a frequent feature in the Argentine folk music reviva! of that
time, mainly in instrumental music (about the concept and use of museme
see Tagg 1979).
The following example 1 am referring to is a song created by the
famous artist Maria Elena Walsh about Johann Sebastian Bach: El señor
Juan Sebastián. The references to Baroque style are continuous, since the
content of the song is a tribute to the composer. When listening to the
music please note the paraphrase of the final choir of the St. Matthew
Passion at the beginning of the chorus, which was already included by
1 style, respecting the principies of extended tonality and introducing
Walsh in the melody, but is increased in the polyphonic version of
Cuarteto Zupay (see Dame la mano y vamos ya. Philips 6347514 (LP),
track A.3 or http://www.youtube.com/watch?v=q_2Qfdqao7o).
Another phenomenon which will be considered here is the timbre
derived from the vocal register of singers. In 1963, Carlos Langou created
a group with two sopranos and two contraltos from the Choir of the
Faculty of Architecture in the University ofBuenos Aires. Two years later,
the group adopted the name ofLas voces blancas (The White Voices) and
it worked under the direction of the choir conductor Antonio Russo, who
nowadays also conducts orchestras - another link between the realms of
folk and classical music 6 . The function of the guitar was to play melodic
fragments running between sung phrases and to provide the voices with
rhythmic and harmonic support, which altemated monophonic and
polyphonic textures (as happened with many other groups). Again, four
and five-note chords and dissonances are present. Even if a tenor and a
bass voice were included in the definitive constitution of the group, the
main difference to other chamber vocal groups of the folk reviva!
movement was the importance of female voices (which, as we have seen,
were present in the Cuarteto Gómez Carrillo), and the type of emission
they used (belonging to lyrical classical music). The text of Zamba azul
(Blue zamba) was written by Armando Tejada Gómez and the music by
Enrique Camara de Landa 259
Tito Francia. Las voces blancas have performed it in the recording of A
través de un colorido (Philips 82165 (LP), track A. l ), to be seen as well
on http://www.youtube.com/watch?v=ISxyCoFfnN4.
The baroque museme form part of the growing dialogue between
different music styles which, during those years in Argentina, anticipated
the dynamics of mergers and exchanges typical of postmodem
globalization. The vocal octet Buenos Aires 8 began its work by
performing vocal arrangements of pieces created by nationalist composers
of classical music, and continued by incorporating works of folk music
reviva! movement and tango, including many creations by Astor Piazzolla.
In their version of the Huella by Julián Aguirre they perform a vocal
transcription of the piano score appealing exclusively to the use of
onomatopoeia and vocal nonsense (see Buenos Aires 8, track A. l or
http://www.youtube.com/watch?v=mp9wRhzh2aY).
Another example of multipart singing in the folk reviva! of Argentina
is the Dúo salteño (Salta Duo). In the town of Salta, Néstor Echenique and
Patricio Jiménez formed a vocal duo whose contrapunta! was very original
and unique in the field of the local folk music reviva!, through
arrangements made by the important and well-known composer Gustavo
Cuchi Leguizamón. The melodies of folk songs are harmonized in a free
dissonances that are rare in this kind of music (they neither belonged to
traditional practice nor to those of the reviva!). Once more, classical and
popular styles are used together in the production of folk reviva! music, as
we can hear in this zamba called Pastor de nubes (literally: Shepherd of
the Clouds) with text by Femando Portal and music by Manuel J. Castilla
(see Dúo Salteño. Philips 80.117 (LP), track 1.4 or http://www.youtube.
com/watch?v=uflEH4My6bl&feature=related).
Conclusions
Ali these groups were active during the l 960s and the beginning of the
1970s, when the phenomenon called 'boom del folklore' (folk music
boom) flooded the musical scene of Argentina, and other Latin American
countries. At that time, everyone sang or played guitar, bombo or sorne
other traditional instrument and folk music was present in the streets and
squares, at private parties, in radio studios, on television sets, theatre halls,
festivals, and so on. It must be remembered that military dictatorships
disrupted the work of democratic govemments in those years and that the
folk music reviva! took on the role of condemning the injustices done by
those who ruled the country by force . Everyone knows about these

260 Folk Music Reviva! in Argentina: The Arrangement ofVocal Melodies
circumstances, since it was a strong local manifestation of a phenomenon
similar to that experienced in other countries during the l 960s. As in many
other places, we could understand the social, cultural and political
circumstances of Argentina during those years through the voices and the
practices of the folk music reviva) movement. Since the literary and
musical scenes were fully involved in this process, I cannot mention ali the
artists who participated in it here, even if I decided to consider only a
particular aspect of their composition and performance styles. Therefore, I
have avoided the difficult task of making a comprehensive description of
the phenomenon of folk music reviva) in Argentina (sorne texts dealing
with the history of this process have been published7). lnstead, 1 have
quoted here only those groups whose style of multipart singing was
paradigmatic in sorne way (because it was imitated by many other artists
or because it presented sorne new way of dealing with vocal polyphony in
the realm of folk music revival), and even with this restriction 1 cannot
mention ali ofthe cases.
The examination of the multipart singing style adopted by these groups
reveals sorne traits of the harmonic and contrapunta) language which
characterizes the folk music movement in Argentina; this aspect is an
important component of the musical history of this country, together with
those from other areas of musical creation and execution (like classical
genres, tango, jazz, rock and pop). Since the Sixties, sorne scholars have
become more and more aware of this fact and they include in their fields
of interest ali the types of music studied by Carlos Vega in Argentina and
other Latin American countries: classical, traditional, projections and the
urban popular music which he called mesomusic and whose importance for
musicological studies he emphasised-in Bloomington as early as in
1965-when the folklore boom was in its prime.
The folk reviva) phenomenon started in sorne provinces and then
moved to Buenos Aires, whose inhabitants participated in the process of
its gradual growth by developing musical arrangements, a fact that also
affected the types and uses of multipart singing. Sorne of these
elaborations (the simultaneous singing of three lines, for example)
"retumed" to rural and semi-rural places through imitation by local
groups, thanks to the media. Despite a crisis that took place during the folk
revival process, the interchange between urban and rural environments
continued to increase until the present, when the spread of technology and
the consequences of globalization are responsible for a scene in which it
does not seem useful to continue differentiating between "authentic"
traditional and folk reviva! music. This reality challenges researchers-at
Enrique Camara de Landa 261
least the Argentines-to find new categories to observe, describe and
interpret it.
It is interesting to remark on the double influence of European culture on
the folk reviva! music in Argentina, since local scholars have established
differences between aboriginal and folk music in the country. Even though 1
will not discuss this taxonomy here, 1 would like to point out that the
traditional musical genres were mostly derived from the hybridization
processes between American and European traits (African influence was
also present in sorne areas). Both traditionalists and nationalist composers
used what they considered to be the main musical traits of local culture
heritage, and the same genres had been taken by the agents of folk music
reviva! for their arrangements. ln this way, they favoured a second
hybridization process between those local genres and sorne musical traits
and procedures belonging to the European tradition (or perhaps 1 should say:
belonging to a universal musical heritage and language). Even the practice
of including onomatopoeia and sorne other vocal resources to imitate the
sounds of musical instruments and the traits of musical genres was present
in Europe and USA from the twenties onwards. For most ofthese musicians,
their intention was to renovate the musical language without losing the
flavours and styles of the 'telluric' local heritage. The discussions about
what should be 'the true folklore' and the criticism expressed by sorne
people towards any innovative proposal not only carne from the
maintenance of an orthodox position, but were also the result of a position
that reified tradition as stationary object instead of considering it as a
process of continuous dialog between continuity and change (a situation we
find in other musical phenomena ofSouth-American culture, like tango).
These processes continue to be active today in the Argentine folk
music reviva!. Many changes have affected the structures and content of
pieces created or recreated during the last decades: contact with jazz and
local pop and rock, new literary texts, rhythmical fusions, and other
phenomena could-and should-be considered part of the Argentinean
folk reviva!, 'folklore' or 'proyección folklórica ' . In this case it is not the
names that are important, but the meanings they entail.
References
Aretz, Isabel. 1975. Guía clasificatoria de la cultura oral tradicional.
Caracas: INIDEF.
Buenos Aires 8. 2004. LP. Music Hall Serie Discoteca.
Cámara de Landa. 1991. Argentina: Charanda y Chamamé. CD. Roma:
SudNord Records .
262 Folk Music Revival in Argentina : The Arrangement ofVocal Melodies
Cámara de Landa, Enrique. 1999. "Folklore Musical y Música Popular
Urbana: ¿Proyecciones?" In Música Popular en América Latina.
Actas del JIº Congreso Latinoamericano I.A.S.P.M (International
Association for the Study of Popular Music ). Santiago de Chile, 24-27
marzo 1997. Rodrigo Torres (Ed.). Santiago: Rama Latinoamericana
IASPM. 329-340.
- . 2006. De Humahuaca a La Quiaca: identidad y mestizaje en la música
de un carnaval andino. Valladolid: Universidad de Valladolid.
Cohan, Pablo. 1999. "Argentina. JI''. In Diccionario de la Música
Española e Hispanoamericana. Madrid: Sociedad General de Autores
y Editores.
Cortazar, Augusto Raúl. 1959. Esquema del folklore. Buenos Aires:
Columba.
- . 1969. Los fenómenos folklóricos y su contexto humano y cultural.
Concepción fancional y dinámica. Buenos Aires: Universidad
Nacional.
Fernández Latour de Botas, Oiga. 1969. Folklore y poesía argentina.
Buenos Aires: Guadalupe.
Flury, Lázaro. 1961. "Las proyecciones de/folklore." Misiones Culturales
5: 11.
Folklore para todos. Volumen. 5. Un Disco promotional. (No year). LP.
Philips 85009 PL.
Folklore sin mirar atrás. 1967. LP. Trova TL-1 3.
García, María Inés. 1999. "Nuevo Cancionero Argentino. La Renovación
de la canción popular en la figura de uno de sus fandadores: Tito
Francia." In Música Popular en América Latina. Actas del JI
Congreso Latinoamericano IASPM. Rodrigo Torres, ed. Santiago de
Chile: FONDART. 357-364.
Gravano, Ariel. 1983 (June). "La música de proyección folklórica
argentina." Folklore Americano 1983/35 (June): 1-69.
Grupo vocal argentino. 1966. LP. Discos. CBS 8725.
http://www.youtube.com/watch?v=if2nTx18R84
http://www.youtube.com/watch?v=dEsJ2Xk6Xfs
http://www.youtube.com/watch?v=iLb6elkZ_ fY
http://www.youtube.com/watch?v=K31CG6nyY3k
http://www.youtube.com/watch?v=lx_ 4o8PzTvc
http://www.youtube.com/watch?v=mp9wRhzh2aY
http://www.youtube.com/watch?v=tu7JoJpPijl
http://www.youtube.com/watch?v=xstOxX7BKN4&feature=related
http://gruposvocales.blogspot.com.ar/search/label/Cuarteto%20Vocal%20
G%C3 %B3mez%20Carrillo)
Enrique Camara de Landa 263
Lara, Celso. 1975. "En torno al problema de la proyección folklórica."
Folklore Americano 1875/20 (December): 37-43.
los 33 Años de los Hermanos Ábalos. 1973. CD. Microfon SE-396.
los Cha/cha/eros en concierto. 1948-1988. Un canto de 40 años. 1988. 2
LP. Microphon Super 8014/5.
los primeros éxitos de "Los Huanca Huá ". 1969. LP. ODEON XLD
40335.
Los triunfadores de Cosquín y sus grandes éxitos. (No year). LP.
Harmony. Discos CBS 7006.
Mansilla, Ricardo. 2005 . "El arreglo coral de música popular. Una forma
de composición que renueva el repertorio de concierto." Magister
thesis. University ofMendoza, Argentina. Unpublished.
Pinnola, Fabián Marce lo. 1999. "Retoques (el 'tango' y el 'folklore' en el
'rock nacional' argentino)." In Música Popular en América Latina.
Actas del JI Congreso Latinoamericano JASPM (International
Association for the Study of Popular Music). Rodrigo Torres, ed.
Santiago de Chile: FONDART. 256-269.
Portorrico, Emilio Pedro. 1997. Diccionario Biográfico de la Música
Argentina de Raíz Folklórica. Buenos Aires: Departamento de
Servicios Graficos del Banco de la Provincia de Buenos Aires.
Rojas, Ricardo. 1909. La restauración nacionalista, informe sobre
educación. Buenos Airess: Ministerio de Justicia e Instrucción Pública.
Seeger, Charles. 1960. "On the Moods of a Musical Logic." Journal of the
American Musicological Society 1313: 224-261.
- . 1977. "On the Moods of a Musical Logic." (Reprint). In Studies in
Musicology 1935-1975. Berkeley: Unjversity of California Press. 64-
88 .
Tagg, Philip. 1979. Kojak: 50 Seconds of Television Music (Towards the
Analysis of Affect in Popular Music) . Goteborg: Musikvetenskaplig a
GOteborgs (Goteborg University Musicology Department).
Vega, Carlos. 1944. Panorama de la música popular argentina (con un
ensayo sobre la ciencia del folklore). Buenos Aires: Losada.
- . 1960. la ciencia del folklore, con aportaciones a su definición y objeto
y notas para su estudio en la Argentina. Buenos Aires: Nova.
- . 1981. Apuntes para la historia del movimiento tradicionalista
argentino. Buenos Aires: Instituto Nacional de Musicología "Carlos
Vega".
- . 1988. Panorama sonoro de la Música tradicional argentina. 2 CDs.
Buenos Aires: Instituto Nacional de Musicología.
264 Folk Music Reviva( in Argentina: The Arrangement ofVocal Melodies

Notes
PART 111:
1
See more about this process in Cámara de Landa 2006.
2
The traditional way of performing this music had been mostly the opposite, a
third below the main melody. Only the vidalita, a female traditional genre MULTIPART MUSIC
performed in the province of La Rioja at that time, featured a ' second' part sung a
third over the main melody. AND RELIGIOUS PRACTICES
3
Gravano (1983 : 35), who describes these resources, also observes the sporadic
use of two vocal duets singing in counterpoint.
4
1 am grateful to Zelmar Díaz for his help in finding the covers in the Sound
Archive ofthe Instituto Nacional de Musicología "Carlos Vega" in Buenos Aires
and to Graciela Restelli for doing the photographs for this text.
5
They were not the only group to use written arrangements as a way of
transmission, even ifmost ofthem worked without reading music.
6
As with other groups, Las voces blancas underwent sorne changes in its
composition, due to the departure of sorne of its members and the arrival of new
ones.
7
On the history and theory of folk music revival in Argentina, see Gravano 1983,
Portorrico 1997, Cohan 1999, García 1999, and Mansilla 2005.