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?

• the Nueva Canción song of Victor Jara, performed by the ensemble Inti Illimani
• Bolivian zampoña-ensemble playing a k'antu
• the Ecuadorian Quichua sanjuán, "Muyu muyari, warmigu"
• "Galo" Maigua's sanjuán, his intended autobiographical "Ilumán tiyu"
• the African-Ecuadorian version of a sanjuán 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 landó genre that captures the local coastal caña 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."