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Migration and miscegenation gave birth to the

USIC laments of Arequipa music, but also its joys turned
into melody.
Carpio Muñoz, in his second book, El Yaraví
Arequipeño (1976), addressed the history of this
social group that has been developing since the 16th
century.
“ As there was a need for communication, voices from
Quechua and Aymara were combined with Spanish, and
vice versa, misused by the way, hence the
Arequipeñismos arise.”
 Carpio Muñoz has written more than 600 pages of history
most complete of traditional Arequipa music. It is about

BOOK of his twenty-sixth book and has titled it El Pendón

AND
The first is a treatise on the popular music of Arequipa

The second part is dedicated to the short biographies of the

Arequipa composers .
IT IS
DIVIDED
In the third part is the songbook of the Yaraví Arequipeño
INTO FOUR
PARTS
While the fourth and last chapter is titled Sound Library of
Popular Music of Arequipa
 "They returned from the United States in 1988, so I invited them to my

In the interview conducted in Carpio Muñoz's old house

in Cerro Colorado, the Dávalos brothers
They tell all the details of their artistic career and even

DAVA dare to sing some songs.

L
At 69 years of age, Carpio Muñoz confesses that he wants
to live to be 200 years old to continue producing works.
The secret may be swimming every day and singing
Aravíes
.
house to share an Arequipa banquet. It was an unforgettable moment."
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 Yaraví is a Castilianized deformation of the Quechua word “ jarawi
Etymology
” or “ harawi ” which means “poem.” In turn, “ harawi ” is based on
two roots: “ arawi ” or “ araví ”, which refers to sad poetry, widely
used in Inca farewells and funerals, which were melancholic songs
that were mixed with complaints. and the wailing of women at the
time of a funeral, and was accompanied by quenas and antaras. And,
likewise, it has its roots in the “ qarawi ”, which were happier songs
that accompanied the men who worked in the sowing and harvesting.
They were therefore, in pre-Inca times, songs that were more ritual
than thematic .
THE YARAVÍ HARAWI
CRI STAGE INCA
S OF
THE
YARAV

THE YARAVÍ p
DE
MELGAR
As the last stage of evolution of this genre
typical of Arequipa, Benigno Ballón Farfán
appears in the 1930s, who as the most
distinguished Arequipeño musician, begins a
new, prolific and final era, in which the Yaraví
is arranged, translated into the staff. musical,
orchestrated and recorded for preservation.
MWWWWWWW
WWMWW

Of the varied musical genres that Arequipa

culture houses, there is one that survives
oblivion and little diffusion in cultural spaces:
the Arequipa waltz. Composed in pentagram it
remains agonizing, although it continues to be
a main component of Arequipa's identity.
 A characteristic that has allowed the waltz to
survive over time is that it has been written by its
composers in musical staves, which later allow
them to be interpreted by other musicians. “The
staff gives us the ease of interpreting these works;
maybe make some changes, maybe polish some
notes better and adapt them to new instruments.
This means that the music does not stagnate and
continues to be current. “We can still find scores
with popular historical waltzes from the 18th
PENTAGRAMS century to the end of the 19th century; and we can
clearly see that they are reminiscent of the
European waltz, which when combined has an
Arequipa flavor.”
 EÑA
The huaynoAREQUIPEÑA
adopts various dance forms, dresses and notes in Peru.
The pampeña is the Arequipa type of the Andean or mestizo huayno.
It takes its name from the historical fact that the city of Arequipa has
always received Puno immigrants who traditionally and mostly settle
in the area of the city through which you arrive from Puno. This
Arequipa place was formerly called the "Pampa" due to its flat,
relative and extensive topography. And by extension, the inhabitants
of the Pampa were called "Pampeños." Until the beginning of the 20th
century, the Pampeños were mostly Puneños.
-------- —
 l DUNCKER

He was born in the city of Arequipa on

July 15, 1874 and died in that same city
on October 29, 1922. The style of his
music belongs to romanticism. His
work, mostly written for piano, presents
two aspects: one European and the
other mestizo.
He has been called "Forger of mestizo
music" because he used Andean
melodies (Yaraví) within European
forms, such as the waltz.
JOSE MARÍA OCTAVIO POLAR VARGAS
He was born in Arequipa on October 8, 1856. Was
an outstanding musician and composer of works
musicals for piano and orchestra, artist of
outstanding talents, prodigious performer of
piano. Knowledgeable of the technique of almost all
instruments lived on Santa Catalina Street in the
fence of Arequipa.
He directed the Philharmonic Society, offered important concerts at the Fenix Theater, and
in the once spacious hall of the Catholic Union. Polar occupied the place of Honor of
Arequipeña Music for more than 20 years .
 MANUEL
AGUIRRE DE LA
FUENTE
(1863-1951) Self-taught, like a large number of the musicians of
that time, he found in the piano the appropriate medium for
the extroversion of his innate lyricism, which he channeled
through the small 19th-century and romantic forms, cultivated
with loving inspiration and good taste. . When the Southern
Regional School of Music was founded, the government, on
our initiative approved by the Board of Directors of Musical
Culture, appointed him, named him Honorary Director for
Life. Years before he had been decorated Knight of the Order
"El Sol del Perú".
d
 s musicals he performed
father and with Francisco Molina Prieto. With
them
He learned to play violin and piano. His hymn
to
Arequipa won first prize in the contest
organized by the provincial council in the IV
centenary of the Spanish foundation of
Arequipa.
In 1942 he directed his own orchestra with which
animated urban social environments.
In 1945 he was appointed director of the School
Southern Music Regional. For several years
He was a professor at the Francisco Military
College
Bolognesi.
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BENIGN BALLON
FARFÁN
Professor of music and school songs at the Escuela Normal Urbana, organist for ten
years at the Santo Domingo church and, for thirteen years, chapelmaster at the
cathedral. ”. Author of most of the hymns of Arequipa schools, he composed almost
300 works including religious, classical, dance pieces and arrangements of
traditional Yaravíes. She married three times, was widowed twice, and had fifteen
children. Don Benigno was the first to professionalize the profession of musician .
IWWWWWWW
WWMIW
 ROBERTO
CARPIO
■ VALDÉZ
(Arequipa, February 23, 1900 - Pisco, 22 of
May 1986) was a musician and composer
Peruvian. His brief work is dedicated almost
exclusively to the piano genre and lied, in
where Peruvian Andean music converges
influence of Claude's French impressionism
Debussy and other European styles.
 CARLOS SANCHEZ
MALAGA

(Arequipa, February 23, 1900 - Pisco, May 22,

1986) was a Peruvian musician and composer.
His brief work is dedicated almost exclusively
to the piano genre and lied, where Peruvian H
E-
Andean music converges with the influence of
French impressionism of Claude Debussy and
other European styles.