Bibliographic citations
Luey, M., (2023). “Mi Compadre Nicolás” y “Son de los Diablos”: La transformación rítmica y sonora del ensamble de percusión afroperuano en la década de 1970 [Pontificia Universidad Católica del Perú]. http://hdl.handle.net/20.500.12404/26421
Luey, M., “Mi Compadre Nicolás” y “Son de los Diablos”: La transformación rítmica y sonora del ensamble de percusión afroperuano en la década de 1970 []. PE: Pontificia Universidad Católica del Perú; 2023. http://hdl.handle.net/20.500.12404/26421
@misc{renati/2010496,
title = "“Mi Compadre Nicolás” y “Son de los Diablos”: La transformación rítmica y sonora del ensamble de percusión afroperuano en la década de 1970",
author = "Luey Rojas, Mayli",
publisher = "Pontificia Universidad Católica del Perú",
year = "2023"
}
The son de los diablos and the festejo are two Afro-Peruvian musical forms that are present, not only in the music scene of Lima, but have also managed to cross the national barrier. Currently, the son de los diablos is known as a type of festejo, the first appearances of this date back to paintings by Martínez Compañón in the 18th century. For its part, the festejo is one of the best-known Afro-Peruvian musical genres worldwide. What stands out the most about it, is his musical richness, especially in percussion, and his dance. This research focuses on the musical analysis of the main features that characterized the process of rhythmic and sound transformation of the percussion ensemble within Afro-Peruvian music during the 1970s. To have a significant sample of the analysis, two themes of the main representatives of this culture, Nicomedes Santa Cruz and Perú Negro, were chosen: “Mi Compadre Nicolás” and “Son de los Diablos”. Santa Cruz known for his work within the Afro-Peruvian cultural revival, and Perú Negro considered the most representative company of Black folklore in Peru. As a result, percussion goes from being an accompaniment line to having a leading role in Afro-Peruvian music. All of this, due to the rhythmic and sound changes, besides the development of the musical language led by Perú Negro.
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