Briefly recap the musical examples presented in this chapter. ...

[Tazate]

Briefly recap the musical examples presented in this chapter. What are some of the general features that WOM suggests the examples share in common?
 
  What will be an ideal response?

Question 2

What genres in other places in Latin America relate to the sugar-mill (trapiche) culture?
 
  What will be an ideal response?

[31809pancho]

Answer to Question 1

 the Nueva Cancin song of Victor Jara, performed by the ensemble Inti Illimani
 Bolivian zampoa-ensemble playing a k'antu
 the Ecuadorian Quichua sanjun, Muyu muyari, warmigu
 Galo Maigua's sanjun, his intended autobiographical Ilumn tiyu
 the African-Ecuadorian version of a sanjun performed by Chota River Valley musicians
 the Peruvian wayno performed by Chaskinakuy, which shows the globalization of the Andean ensemble phenomenon
 refined solo harp music by the son of a renowned central Ecuadorian harpist who ultimately followed in his father's footsteps . . .

 an example of the Afro-Peruvian land genre that captures the local coastal caa life and culture
 WOM suggests all of the examples speak to strongly felt political concerns; are deep-rooted musical forms of expression; and detailed and attentive attempts, from afar, to capture the overall character of an Andean song-dance type; and the dedicated efforts to recreate local musical style.

Answer to Question 2

 the bomba, a traditional genre of the Chota Valley (see African-Ecuadorian music of the Chota River Valley above.
 the bambuco, a lively musical genre that includes an upbeat sesquialtera folksong with the title El Guaro The title refers to the sugary juice squeezed from the sugar cane, which in this case, is turned into a highly intoxicating form.

[Tazate]

Thanks for the timely response, appreciate it

[at]

TYSM