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Home / Mountain in Guatemala Which Is Subject of Much Art Work?

Mountain in Guatemala Which Is Subject of Much Art Work?

Music and musical traditions of Guatemala

The music of Guatemala is diverse. Music is played all over the country. Towns also have wind and percussion bands that play during the lent and Easter-week processions also every bit on other occasions. The marimba is an important instrument in Guatemalan traditional songs. The oldest documented use of marimba in the Americas dates to 1680 during celebrations at Santiago de los Caballeros de Republic of guatemala.

Guatemala as well has an nigh five-century-old tradition of art music, spanning from the starting time liturgical chant and polyphony introduced in 1524 to contemporary fine art music. Much of the music composed in Guatemala from the 16th century to the 19th century has just recently been unearthed by scholars and is being revived by performers.

Mayan Music [edit]

Much of what is known about how the ancient Mayans created and played music comes from the iconography that is preserved in the formalism pieces of landscape art, or codices. One example is institute in the ancient Maya archaeological site of Bonampak, Mexico,[1] where at that place are walls showing artwork of a group of Mayan warriors playing long trumpets, equally portrayed in the Mayan theatrical play Rabinal Achí.

Many kinds of instruments were used, but they substantially bankrupt down into two categories, existence air current instruments (aerophones) and percussion instruments (idiophones). The air current instrument family unit consisted of cane and os flutes, different types of whistles, ocarinas of various designs, and other sibilant vessels.[ commendation needed ] For percussion instruments, the Mayans crafted wooden drums with membranes made from the hides of deer or jaguar. They as well made rattles, güiros, and other idiophones using the shells of snails and tortoises. One of these percussion instruments called the "tunkul" (or sometimes just "tun") is nonetheless seen in Guatemala today. Information technology is made from a hollow tree trunk with an H-shaped incision whose resulting tongues are hitting with rudimentary drumsticks.

The music the Mayans played was performed and danced to during festivities and rituals, normally in commemoration of (or to communicate with) the gods that they worshiped.[2] It appears that each god had their date or holiday, with its accompanying ceremonies and special music.

Folk Music [edit]

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Marimba [edit]

A Guatemalan marimba band.

The marimba's starting time documentary evidence of existence comes from an account in forepart of the cathedral of Santiago de Guatemala, present-day Antigua Guatemala, in 1680. Later on, historian Juan Domingo Juarros mentioned and described it in his Compendium of the History of Guatemala. The musical instrument may exist probably much older, as an attempt at recreating an older West African musical instrument, and could have been introduced by Afro-Caribbean slaves as early on equally 1550.[iii]

By the early 20th century, wooden-box resonators had replaced the gourd resonators. Modern marimba bands include a smaller marimba for 3 players, a larger marimba for iv players, plus a drum kit or other percussion and a string bass. Some bands have occasionally employed one or 2 saxophones, likewise as one or two trumpets and a trombone.

Much of the older repertoire of salon music was learned and adopted by the marimba bands, while a sizable amount of new dance pieces was newly composed for the marimba by such composers and marimba players as Domingo Bethancourt (1906–82), the Ovalle brothers, the Hurtado brothers, equally well every bit the famous Mariano Valverde (1884–1956), Wotzbelí Aguilar (1897–1940) and Belarmino Molina (1879–1950), to name simply a few. Singer Paco Pérez (1917–1951) was catapulted to fame with his waltz "Luna de Xelajú", one of the best-known marimba pieces which is regarded by many Guatemalans as a sort of unofficial national anthem.

Types of Marimbas [edit]

Marimba de Tecomates

This musical instrument is from Chichicastenango and information technology is fabricated of palo de hormigo, a type of wood used for marimba manufacture, and pumpkins (tecomates). This blazon of marimba is played by a single person who is requested to liven up concerts of the brotherhood from Chichicastenango. Marimbas have many sizes and shapes and that is what makes this musical instrument so unique.

Marimba Simple

The soundboards of the marimba simple are made of wood such as cedar or cypress. It is tuned according to the key, and with a membrane glued with wax at the lower end, which allows the "charlco" (marimba stick) to facilitate the prolongation of the sound. The construction of the first marimba was diatonic, related to a key, and because it is like shooting fish in a barrel to play information technology was called Marimba Unproblematic. Sometimes the performers want a different sound then to get a "flattened" sound, the performers would stick a pocket-size ball of wax at 1 end of the keyboard, which flattens the sound down by a one-half tone. To marimba players this technique is called "send", and it is very mutual to come across this technique applied to the marimba elementary.

Arch or Ring Marimba

The arch marimba was probably the first, followed by a uncomplicated instrument with a diatonic row of woods confined played with mallets, with gourd resonators, placed on a wooden a stand up. In 1894 came a major breakthrough when Julián Paniagua Martínez and Sebastián Hurtado adult the chromatic marimba past adding to the diatonic row of sound bars, comparable to the white keys of the piano, a second row equivalent to the black keys.

Marimba concert

The marimba concert is played past several musicians at a fourth dimension. It was created when the Directorate Full general of Culture and Fine Arts belonged to the Ministry building of Instruction. Chief Lester Godinez was its offset Music Director and Professor Ruben Alfonso Ramirez served every bit Director Full general of the authoritative unit authorized for operation as of May 1, 1979. Its co-founders were Otoniel Godinez (Assistant director), Alfonso Bautista Vasquez, Roberto Garcia, Gérman Amilcar Corzo, Manuel Toribio, Fidel Funes, Mario Bautista Vásquez and Erick Godoy Cámbara.

Chromatic Marimba

Chromatic Marimba is the standard marimba known worldwide. Developed in the southeast of Mexico and Guatemala inspired by the science of the marimba simple. It has the same functionality equally the marimba simple but the difference is the chromaticism that this instrument has. This marimba is chromatic because you can take all 12 notes of the calibration.

Marimba Cuache or Marimba Doble

This marimba was built with a double keyboard, one larger than the other representing the basic idea of the piano keys. It is very versatile to play and 3 or four performers can play it at the same time. This gives the performance more color and the whole spectrum of the loftier, mid and low register is used throughout the functioning.

Lord Sebastian Hurtado, a native of Quetzaltenango, was the first person to build a marimba with a double keyboard, capable of producing chromatic scales around the get-go of the 20th century. Its structure was a suggestion of the musician Julian Paniagua Martinez. The offset concert featuring a marimba doble in the City of Guatemala was in the year 1899, on the altogether of President Manuel Estrada Cabrera, where the Hurtado brothers gave a bear witness for the president and all were very pleased with the result and versatility of the operation.

Marimba grande

The marimba grande is the larger of the two keyboards that brand up the double marimba (marimba doble). It reflects the representative way in the construction of instruments from Guatemala. Information technology is fully mitt-made and the variety of wood they use gives this marimba a warm audio. Although over fourth dimension, builders have added some metal support reinforcements to the structure of the marimba to brand it more durable and stable. This musical instrument has a range of six octaves, from F-precipitous to B-natural. The confined range in size from 5 inches x 3 / 4 to 15 x iii inches. The musical instrument is 8.3 anxiety long and 9 inches wide at the lower finish.

Garifuna music [edit]

Garifuna originated from escaped Island Caribs who were deported from St. Vincent to Key America (peculiarly Guatemala, Belize, Honduras, and also in Nicaragua in 1802) by the British when they conquered St. Vincent. The Garifunas kept themselves apart from the social system then dominant, leading to a distinctive culture that include chumba and hunguhungu, a circular trip the light fantastic toe in a three beat rhythm, which is often combined with punta, their national genre.

There are other songs typical to each gender, women's eremwu european union and abaimajani, rhythmic a cappella songs, and laremuna wadauman, men's work songs. Other forms of dance music include matamuerte, gunchei, charikawi and sambai.

Music following European classical music tradition [edit]

The field of music, otherwise known as "classical music", includes various musical styles such as Renaissance, baroque, classical, romantic, 20th-century music, and post-modern music. Republic of guatemala was ane of the first regions of the New World to be exposed to European music. The Castilian missionaries and clergy introduced Flemish and Spanish liturgical music during the early on 16th century as role of the Roman Cosmic rite.

The first cathedral (1534) at the newly founded city of Santiago de Guatemala was endowed with a choir in charge of plainchant and Latin polyphony. Later in the century iii chapel masters from the Iberian peninsula enriched the cathedral'south repertoire with their compositions: Hernando Franco (1532–85), Pedro Bermúdez (1558–1605), and Gaspar Fernández (1566–1629). Scholars accept shown that musical activity in the missions of Huehuetenango, in the northwestern mountains of present-day Republic of guatemala, was significant. Native musicians learned the art of polyphonic composition from the missionaries and also contributed a number of villancicos in Spanish and local Mayan languages to the repertory of matins and vespers music at their parish churches.

The main composers during the late baroque and pre-classical period were Guatemalan-born chapel masters of the cathedral, Manuel José de Quirós (d. 1765) and Rafael Antonio Castellanos (d. 1791). The latter successfully introduced Guatemalan folk-music elements in his vocal works, peculiarly his villancicos for Christmas, which oft show traits of Afro-Caribbean and Mayan rhythms, melodies, and accompaniment styles. His 176 extant works reflect Castellanos' mastery of the fashion of his time, as well as an unusual originality based on plainchant models, baroque part-writing, and the frequent inclusion folk-music idioms.

Several of Castellanos' disciples attained mastery of the villancico and the cantata, every bit is reflected by extant works past Pedro Antonio Rojas, Manuel Silvestre Pellegeros, Francisco Aragón, and Pedro Nolasco Estrada Aristondo. The successor of the latter as chapel master of the cathedral was Vicente Sáenz, who served in that capacity from 1804 to his death in 1841. The organist during his tenure was his son Benedicto Sáenz the elder, who prematurely died in 1831.

Amongst the composers of classical way the most of import Guatemalan composer is José Eulalio Samayoa (1781-ca. 1866), the showtime musician in the New World to write symphonies as well a sizable corporeality of church music. His Seventh Symphony, dedicated to the victory of the Federal Army at Xiquilisco in present-day El salvador, is a model of classical balance. His afterwards Sinfonía Cívica and Sinfonía Histórica are kept in an early romantic idiom, with frequent programmatic episodes. José Escolástico Andrino, who worked in Guatemala Urban center, Havana, and El Salvador during the first half of the 19th century, also composed several symphonies.

The brilliant immature musician Benedicto Sáenz, the younger (d. 1857) on the other hand wrote much church music, such as his Messa Solenne published in Paris past communication of the Italian composer, Saverio Mercadante . At the same time, Sáenz and his brother Anselmo were the first to innovate Italian opera to Guatemala from 1843 on, an enterprise that later on initial failures would turn into a huge success, leading to the construction of the magnificent National Theatre, later chosen Teatro Colón. An Italian opera company arrived in 1871 bringing Pietro Visoni as orchestra conductor and his wife Luisa Riva de Visoni every bit prima donna. Visoni was the former organist of the Duomo (cathedral) of Milan. After successful performances in the Teatro Colón and arriving at the fourth dimension of a liberal revolution, maestro Visoni was asked by President Miguel Garcia Granados to take charge of the bands of the 1st and second battalions of the Guatemalan army. Visoni merged the ii bands and officially established the Martial Symphony Band (notwithstanding in existence). Since there were not plenty trained musicians in the country, Visoni created Guatemala's first music conservatory, the School of Substitutes (known today as Armed services Schoolhouse of Music Maestro Rafael Alvarez Ovalle). The School of Substitutes became the convenance ground for some of Guatemala's greatest composers, including Rafael Alvarez Ovalle, composer of the national anthem. In the 1940s members of the band were among the founding members of the National Symphony Orchestra.

The tardily 19th century is represented in Guatemala by several trends: the aforementioned introduction of opera, the training abroad of several highly talented pianist-composers, the influence of military machine band music, and the invention and evolution of the chromatic marimba.

Piano music was enormously furthered by scholarships for study in Italia and France awarded to several immature talents. Thus, Luis Felipe Arias (1876–1908), Herculano Alvarado (1879–1921), Julián González, and Miguel Espinosa could present pianoforte music by Ludwig van Beethoven, Frédéric Chopin, and Franz Liszt never heard before in Republic of guatemala. They had too considerable influence on younger composers such as Rafael Vásquez, Alfredo Wyld and Rafael A. Castillo, all of whom flourished during the first decades of the twentieth century.

A group of composers furthered and instructed by the Prussian conductor and bandmaster, Emil Dressner, came from the realm of military bands and salon music. Germán Alcántara (1856–1911), Rafael Álvarez Ovalle (1855–1946), Manuel Moraga (1833–96), Julián Paniagua Martínez (1856–1946) and Fabián Rodríguez (1862–1929) contributed a number of salon pieces, opera fantasies, and dances to the repertoire of bands and pianists.

Another important achievement was the invention and development of the chromatic marimba in the highland town of Quetzaltenango in 1894, past Julián Paniagua Martínez and the marimba builder, Sebastián Hurtado. This new evolution made it possible to play the fashionable dance and salon music on the marimbas, which previously had been restricted to the diatonic scale. As a result, Guatemalan light music accomplished an enormous broadcasting at home and away past countless marimba bands that were formed from the beginning of the twentieth century. Much of the music of that fourth dimension is still live in the memorized repertoire of present-day marimba groups.

By the terminate of the nineteenth and in the first part of the 20th century, several composers adult a peachy interest in Mayan mythology and folk music, on which they based their scenic and concert compositions. Jesús Castillo (1877–1946) was the first musician to collect a sizable corporeality of folk tunes, which he later used in works such every bit his opera Quiché Vinak, too equally ouvertures and symphonic poems. His half brother Ricardo Castillo (1891–1966) studied in Paris, where he acquired impressionistic and neo-classical techniques. His piano music, as well as his orchestral output, reflects the fusion of his contemporary fine art with Mayan mythology such as legends and myths from the Popol Vuh. José Castañeda (1898–1983) also took smashing interest in the Mayan past in his phase works such as the ballet La serpiente emplumada (The Feathered Snake), premiered in 1958, while his two symphonies his string quartets are much more experimental.

Composers from the next generation, some of them Ricardo Castillo's and José Castañeda's students who could also profit from the teachings of the Austrian composer, Franz Ippisch, continued to focus on the autochthonous Guatemalan cultures. In their phase, vocal, and instrumental works, they have shown an interest in Mayan and Garifuna cultural elements, which they have stylized in different ways. Among these, Joaquín Orellana (b. 1930) has developed idiophones and aerophones derived from the marimba and other folk instruments, which he uses in some of his aleatory compositions that deal with the social strife of nowadays-twenty-four hour period ethnic groups.[four]

Among his one-time students, the Gandarias brothers have focused on electronic process of folk-music and bird calls recorded on site, producing several discs. At the get-go of the new millennium, two multimedia works past gimmicky composer Dieter Lehnhoff, Memorias de un día remoto (Memories of a Afar Day) and Rituales nocturnos (Dark Rituals) have evoked the Mayan past in a more contemporary fashion, being conceived every bit the soundtrack to an imaginary movie. The sojourn of the Garifuna to Primal American shores on the other mitt is the subject of Satuyé, his opera in progress. Among the younger composers, several have written works in a variety of postal service-mod styles, often returning to traditional or free tonality in their song and instrumental compositions.

In 1930 comes to air radio TGW, the Voice Guatemala, first station of long wave. Subsequently, in 1946, begins the time of the national broadcasting. In that catamenia, the transmitters produced dramatized pieces, arose programs from quality that could compete with the foreigners; the broadcasting reached their maximum development. The station has had an entertainment focus, featuring artist such as: Paco Pérez, Gustavo Adolfo Palma, Juan de Dios Quezada, Manolo Rosales, Jorge Mario Paredes and Ernesto Rosales.

Music life [edit]

Present-mean solar day Republic of guatemala boasts a number of performing organizations, such as orchestras, choirs, chamber ensembles, opera troupes, soloists and dozens of rock bands.

The Orquesta Sinfónica Nacional was founded in after the 1944 Revolution, transforming from an before government orchestra called Orquesta Progresista. For several years it was directed past the notable violinist, Andrés Archila. In 1964 a permanent conductor was appointed Ricardo del Carmen, who was joined in the early 1970s by Jorge Sarmientos, another music manager. In 1991, after both conductors retired, the orchestra decided to dispense with a permanent music managing director, working but with guest artists. Equally a result, many of the orchestra'south concerts are conducted by some of its members, who are non necessarily trained in orchestral conducting. This orchestra is endowed with subsidy from the government to cover salaries and expenses. Information technology has yearly seasons, one of which includes international guests; the other seasons are popular and didactic in nature.

The Orquesta Sinfónica Juvenil was founded in 1970 by Manuel Alvarado Coronado. Information technology was a youth orchestra, and its members were students at different schools in Republic of guatemala Metropolis. Without financial support, it was forced to develop its activities with the aid of parents.

The Orquesta Millennium is an independent organization founded in 1993 by Dieter Lehnhoff and Cristina Altamira. Initially called Nueva Orquesta Filarmónica, it played its starting time concert seasons in the Auditorium of the Universidad del Valle de Guatemala, as well equally other locations. Information technology made its offset CD La Sociedad Filarmónica in 1993, with premiere recordings of works by Guatemalan classical composers José Eulalio Samayoa, José Escolástico Andrino, and Benedicto Sáenz, the younger. In 1998 it was appointed official orchestra of the City of Guatemala, under the protection of the Mayor and City Council, with the name of Orquesta Metropolitana. In 2004 it separated from the City government, became independent once again, and changed its name to Millennium Orchestra. The Orchestra has recorded the highly successful CDs Valses inolvidables de Guatemala and Melodías inolvidables de Guatemala, both of them with music by Guatemalan composers.

The Orquesta Clásica was founded in the early 1990s. It is a individual orchestra, which plays at the Universidad Francisco Marroquín for their classical season. Since the death of its original leader in 2003, it has been conducted by guests. In September 2007 the academy cancelled all of the remaining flavor concerts and withdrew its support.

The Orquesta Sinfónica Jesús Castillo, a youth orchestra, was established in 1997, afterward a series of workshops conducted by a group of Venezuelan instrumental teachers. Its members are students of the National Conservatory and other privates academies. Its first Musical Director was Igor Sarmientos 1997–2007. This orchestra had the partial support of the government to comprehend their expenses until 2007.

Amidst the choirs active in Guatemala, the oldest organization is the Coro Nacional, founded after the 1944 Revolution as Coro Guatemala. Over the decades, it has introduced many works by European composers, besides as numerous Guatemalan songs and choral compositions. Information technology is the but choral group with authorities back up, and offers several yearly concert sessions.

The university choirs are also very important, and gather in yearly traditional choral festivals. There are also independent, and amateur choral organizations. At the commencement of the new millennium, several choirs of children and young have sprouted, not only in Guatemala City, but too in towns and rural areas.

At that place are several chamber ensembles such as current of air quintets, cord quartets, brass choirs, and groups specializing in baroque performance practices. Amidst these, the Millennium Ensemble has raised much attention by their first performances of Renaissance, baroque, and classical works from colonial Guatemala, which they have presented at festivals and concerts in Europe, Due north- and South America. Since their commencement CD, released in 1992, up to their twelfth CD Joyas del Barroco in Republic of guatemala (2006), they have revived numerous works of 18th-century composers equally Manuel José de Quirós, Rafael Antonio Castellanos, and Pedro Nolasco Estrada Aristondo, with mezzosoprano Cristina Altamira performing villancicos and cantatas for different occasions of the Catholic liturgical year.

Opera has also regained favour, with yearly performances at local festivals in Guatemala City and Antigua Republic of guatemala. Guatemalan Baritone Luis Girón May (b. 1953, d. Baronial 2013) has been influential in obtaining significant sponsorships for the staging of several operas by Verdi and Puccini. Strange opera companies also visit the country on occasion, performing in the magnificent National Theatre in Guatemala Urban center or on historical locations in Antigua Republic of guatemala.

In that location are also well known picture show scoring composers from Republic of guatemala such as Pieter Schlosser and Mauricio Trabanino.

Mod popular music [edit]

In contempo decades, Republic of guatemala has produced a variety of popular performers, such equally pop vocalists, Guatemalan stone bands, bachata, salsa and merengue bands, hip hop and reggaeton , disk-jockeys, trios, and mariachi bands. The best known popsinger/songwriter from Republic of guatemala is Ricardo Arjona.

Ane of the better-known pop-rock bands during the 1980s and 90s was the group Alux Nahual. While this group has been separated since 1998, their recordings are however favoured by a sure age grouping of Guatemalan city-dwellers. In the teen pop genre, artists like Vanessa Spatz were exported internationally, with the support of Siempre En Domingo and toured broadly effectually Latin America. Her music being distributed worldwide by PolyGram. She retired as a performer in 1991 and continued her career as a producer and songwriter, co-producing the song "Email Me" for Jose Jose with Luny Tunes for the record label Bertelsmann Music Grouping known every bit BMG. Notable vocalists from the 20th century include Luis Galich, Roberto Rey, Herman May, Tania Zea, Karim May, and Elizabeth.

Alternative Music in the 90s [edit]

Bands such as Bohemia Suburbana, Viernes verde, La Tona and E.x.t.i.due north.c.i.o.n. were the cornerstone for the alternative rock motion of the 90s, during the time of the post-war in Guatemala. These bands however enjoy a level of success, mostly because during that fourth dimension FM Radio (stations such as Doble S then renamed Atmosfera, FM Fenix, Metroestereo, La Marca) represented a huge button for rock bands.

There were as well surreptitious movements during the 90s that went the contrary management; with bands such equally Pusher (metal), Fuerza X (hardcore), Domestic Fool (punk) among others setting new styles outside the mainstream movements. Recently in that location has been a documentary chosen "Alternativa" which documents the alternative and Garra Chapina movement from the 90s to this day.

Today, the musical scene in Guatemala is populated by diverse bands and vocalists. Online radio http://www.elcircodelrock.com promotes the diverse talent nationally and away, but it is still directed to a 90s audience.

Cloak-and-dagger Music in Guatemala [edit]

During the year 2006, the last Stone station on FM disappeared from the airwaves and there was no longer support from the media. As a result, several hundreds of musicians started developing musical styles on cloak-and-dagger movements and selfproducing, and also because of the lack of back up from the media, the bands started promoting on the internet on sites such as Myspace.com and Rockrepublik.net and targeted on smaller audiences in more than specific music genres, this also had equally a consequence an overpopulation of musical projects which are still (nowadays) looking for a mode to bring a new face to music in Guatemala.

In 2010 there are several projects which have been transcending among the overpopulated underground motion: Dubvolution in reggae dub. Evilminded in electronic Music. Treateth, Virus Belico, Metal Requiem and Zarkasmo in Metal. Los Mojarras and Xb'alanke in instrumental music. and several other artists such as None at Last, Assabeth, Silent Poetry, Trinky, Madam Funtoo and pop sensation Woodser.

Perhaps the best known bands are Bohemia Suburbana, La Tona, Viernes Verde, Viento en Contra, Malacates Trebol Shop and El Tambor de la Tribu, although there are many others. Notable pop singers include a new generation of popular stars such equally Tuco Cardenas (whose music genre is really folk), Magda Angélica, Shery, Carlos Catania, Tavo Barcenas, Giovanni Passarelli, Raul Aguirre and Carlos Peña, just to name a few.

In Metal music in that location are bands similar Treateth, Virus Belico, Celula, Zarcasmo, Metal Requiem, E.10.T.I.Northward.C.I.O.N., TOBA, Astaroth, A Walking Legend and to many others.

Guatemala as well has a growing rap scene with artists like Última Dosis, Kontra, Rebeca Lane, N.D.R., Expresión Illegal, Ikari, Bacteria Sound System Crew, Aliotos Lokos, among others.

References [edit]

  1. ^ Houston, Stephen (2012). "The Proficient Prince: Transition, Texting and Moral Narrative in the Murals of Bonampak, Chiapas, Mexico". Cambridge Archaeological Journal. 22 (ii): 153–175. doi:10.1017/s0959774312000212.
  2. ^ "ANTHROJOURNAL". anthrojournal.com . Retrieved 2017-03-07 .
  3. ^ http://www.bjmjr.com/afromestizo/guatemala.htm
  4. ^ da Fonseca-Wollheim, Corinna (2021-02-19). "To Express the Sound of a Country'due south Soul, He Invented New Instruments". The New York Times . Retrieved 2021-02-xx .
  • Chapinlandia: Marimba Music of Guatemala. Washington, D.C.: Smithsonian Folkways Recordings, 2007. SFW CD 40542. [i]
  • Valses inolvidables de Guatemala. Guatemala: ADESCA, 2000. Orquesta Metropolitana Millennium, Dieter Lehnhoff. [2]
  • Tesoros musicales de la Antigua Guatemala. Guatemala: Universidad Rafael Landívar, 2003. Orquesta Millennium, Dieter Lehnhoff.
  • Melodías inolvidables de Republic of guatemala. Guatemala: Universidad Rafael Landívar, Fundación Soros-Guatemala, 2007. Orquesta Millennium, Dieter Lehnhoff. [3]
  • Shery: El amor es united nations fantasma. Guatemala, C.A.: Creatorium Music, 2008. Shery
  • Catania, Carlos: Nariz de Santo. Guatemala, C.A.: Strip Records, 2007.
  • Giovanni Passarelli: Tu lugar. Guatemala, C.A.: Talismano Musica, 2006. Giovanni Passarelli
  • Lester Godínez. La marimba Guatemalteca. Guatemala City: Fondo de Cultura Económica, 2003.
  • Dieter Lehnhoff. "Republic of guatemala." Diccionario de la Música Española due east Hispanoamericana, x vols., ed. Emilio Casares Rodicio. Madrid: Sociedad Full general de Autores y Editores, 2000, 6/one-xi. ISBN 84-8048-303-2
  • Dieter Lehnhoff. Creación musical en Guatemala. Republic of guatemala City: Editorial Galería Guatemala, 2005. ISBN 99922-704-vii-0 [four] [ permanent dead link ]
  • [5]
  • "Music of the Garifuna,"(commodity in RootsWorld) [half-dozen]

[CAMPOS FONSECA, Susan: "Historia compensatoria y Filosofía: Un caso centroamericano", en BABAB, Nº33, verano, España, 2008, ISSN · 1575-9385. Disponible en: http://www.babab.com/no33/susan_campos.php]

  • Rockrepublik.net [www.rockrepublik.net]

[ane] [2] [3] [iv]

External links [edit]

  • El Circo del Rock
  • Rock Republik
  • Musica.com.gt
  • El Ritmo de la Paz
  1. ^ culturaguatemala.6forum.info/t50-la-marimba
  2. ^ LA MARIMBA(Libro en papel)GODÍNEZ ORANTES,LESTER HOMERO
  3. ^ https://mundochapin.com
  4. ^ "Lester Homero Godínez Orantes". 4 February 2018.

gentilemaland1965.blogspot.com

Source: https://en.wikipedia.org/wiki/Music_of_Guatemala