The nineteenth century was the most significant period in Colombian history as it

witnessed the emergence and development of various artistic endeavors, leading to the

establishment of formal projects within academia. These projects were focused on

professionalizing musicians and providing spaces that supported their emerging careers. One

notable figure in this context was Henry Price, a British painter, and violinist who settled in

Colombia in the 1840s. In 1846, Price founded La Sociedad Filármonica (The Philharmonic

Society), considered the first orchestra in Bogotá. Despite its relatively short existence of eleven

years, the ensemble played a crucial role in the professional growth of talented musicians of the

time, who gained recognition within the elite society of Bogotá. The Philharmonic Society's

moderate success demonstrated a significant point: the potential for establishing a

comprehensive program aimed at training musicians to a professional standard alongside the

growing culture of concert venues.1

Until 1892, there were no significant developments in music education within the

country. However, this changed with the establishment of La Academia Nacional de Música (The

National Music Academy) led by Henry Price and his son Jorge Wilson Price. They aimed to

reintroduce a comprehensive program that adhered to European standards, focusing on

pedagogical principles and a musical framework. They believed that any aspiring musician who

sought to be recognized as a "professional" should possess a mastery of these standards to start a

successful career.2

1
Diana C. Piraquive Monroy, “La formación del gusto musical en la enseñanza de la música y el canto en
la ciudad de Bogotá (1903-1936)” (master thesis, Pontificia Universidad Javeriana, 2016), 8-9.

2
Martha L. Barriga Monroy, “Historia de la Academia Nacional de Música en Bogotá de 1899 a 1919: La
Guerra de los Mil Días y el Primer Conservatorio Nacional de Música,” El artista: Revista de
Investigaciones en Música y Artes Plásticas, no. 11 (2004): 299.
 The emphasis on specialization and acquiring advanced knowledge gained greater

prominence with the appointment of musicians trained in European conservatories to lead The

National Music Academy (later known as the National Conservatory of Music). The adoption of

European models created a distinction between musicians from the eighteenth to the nineteenth

centuries: amateurs and "true musicians."3 The identity of the "true musicians" was shaped by

Colombian musicians who received training in Europe under renowned figures such as Cesar

Franck, Vincent d'Indy, and Debussy, among others. This association with the prominent masters

of the era conveyed a sense of prestige and cultural capital, made possible by the social standing

of these European figures and the reputation of the academic institutions they represented in their

respective countries.4 The prominence of these European composers and their connection to their

Colombian counterparts gives rise to several arguments advocating for appointing figures like

Uribe-Holguín and Alarcón as heads of the conservatory. They were seen as individuals who

knew and understood the proper process for acquiring musical training with a sense of "good

taste."

Unfortunately, incorporating new curricula from Europe led to the marginalization of

Colombian folk music. Rhythms such as pasillo, bambuco, and Danza were forbidden within the

classrooms and labeled as non-formal and almost “immoral” music. Consequently, the changes

implemented at the National Conservatory of Music reflected a strong inclination towards

European assimilation, where the European influence was deemed as the sole and essential factor

3
Diana C. Piraquive Monroy, “La formación del gusto musical en la enseñanza de la música y el canto en
la ciudad de Bogotá (1903-1936)” (master thesis, Pontificia Universidad Javeriana, 2016), 34.
4
Pierre Bourdieu, El Sentido Social del Gusto. Elementos para una Sociología de la Cultura, trans. Alicia
B (Gutierréz. Buenos Aires: Siglo XXI editors, 2010) 13.
for shaping musicians who conformed to the societal ideal of being refined and educated

individuals, necessary for recognition and acceptance as "true musicians."

This process marked a critical opportunity to expand and enhance musical knowledge,

but it also initiated a broader cultural appropriation and a disregard for Colombia's musical

heritage. As the focus shifted towards mastering European musical traditions, there was a

tendency to forget and undervalue the rich musical traditions unique to Colombia. The

marginalization of Colombian folk music within the educational system had significant

implications. It not only limited the exposure and understanding of Colombian students to their

cultural heritage but also perpetuated a narrow definition of what it meant to be a "true musician"

in Colombian society. The emphasis on European influences as the benchmark for recognition

and acceptance created a societal ideal that neglected the value and importance of preserving and

celebrating Colombia's diverse musical expressions.

Annotated bibliography.

Barriga Monroy, Matha L. Historia de la Academia Nacional de Música en Bogotá de 1899 a

1919: La Guerra de los Mil Días y el Primer Conservatorio Nacional de Música.” El

 artista: Revista de Investigaciones en Música y Artes Plásticas, no. 11 (2004): 277-300.

ISSN-e 1794-8614.

Martha Barriga's article follows the history of music education at the National Academy

of Music in Bogota, Colombia, from 1899 to 1910. It explores post-war reforms, encompassing

acts, budgets, professors, and study plans. It also elucidates the reasons behind the shift from the

original curriculum to a European model, emphasizing the training necessary for professional

musicians in society.

Bourdieu, Pierre. El Sentido Social del Gusto. Elementos para una Sociología de la Cultura.

Translated by Alicia B. Gutierréz. Buenos Aires: Siglo XXI editors, 2010. 9-18.

This book is a compilation of Pierre Bourdieu's works, translated into Spanish by Alicia

Gutiérrez. In his works, Bourdieu adopts an interdisciplinary approach to explore various topics,

aiming to enhance our understanding of social phenomena and their profound influence on

multiple realms of production and consumption. The book's introductory section explains

cultural concepts within the sociology of culture. Additionally, it describes how the configuration

of a particular field (in this case, music) entails a complex process of legitimation, wherein a set

of knowledge is established as a standard for comparison, determining what is deemed valuable

or insignificant, consequently shaping the system of social values.

Nasif Contreras, Yamal E. “Hegemonía, poder y cultura en la educación musical y artística en

Colombia.” In Cultura, Saber y Poder en Colombia: Diálogos entre los Estudios

Culturales y Pedagogías Críticas, edited by Juan C. Amador, 113-139. Bogotá,

Universidad Distrital Francisco José de Caldas, 2017.

 Cultura, Saber y Poder en Colombia: Diálogos entre los Estudios Culturales y

Pedagogías Críticas is a collaborative book that delves into the potential connections among

cultural studies, education, and critical pedagogies. In chapter seven, Dr. Nasif presents a

historical trajectory of musical education in Colombia, from colonial times to the present,

capturing the evolution of various educational models. The primary aim of this exploration is to

trace the emergence and progression of the dynamic between the dominance of an imposed

European music system and the traditional-folk musical culture of the country.

Pardo Tovar, Andrés. “Los Problemas de la Cultura Musical en Colombia.” Revista Musical

Chilena, Vol 13, no. 64, 61-70.

Musicologist Andrés Pardo explains the challenges embedded in Colombia's musical

culture. Pardo highlights the perceived lack of "proper" technique, which becomes an argument

favoring the inclusion of a European model within the musical programs at the time.

Unfortunately, instead of using new knowledge to enhance and expand the country's musical

traditions, this imposed model resulted in cultural appropriation and the marginalization of

tradition. The emergence of European practices in Colombia fostered a dichotomy, evaluating

what is deemed valuable and what is not, thereby creating a distinct division between "educated

musicians" and amateurs. This divide significantly impacted Colombia's professional field and

artistic market during the early 1900s.

Piraquive Monroy, Diana C. “La formación del gusto musical en la enseñanza de la música y el

canto en la ciudad de Bogotá (1903-1936).” Master thesis, Pontificia Universidad

Javeriana, 2016.
 This thesis centers its research in Bogotá during the first three decades of the twentieth

century, focusing on the educational contexts that shaped musical practices. These scenarios

generated various forms of coloniality, where Europe served as a reference point, influencing

music perception. In the initial chapter, Ms. Piraquive presents the history of the National

Academy of Music after the One Thousand Days War. The chapter delves into other topics, such

as the influence of the Catholic Church on musical education decisions in Colombian schools,

gender-based segregation, and the marginalization of traditional Colombian music. Ms. Piraquive

contends that the European appropriation during this era had profound social and economic

implications, resulting in a heightened class divide based on musicians' access to resources and a

rejection of the country's traditional rhythms prevalent at that time.