Briefly “recap” the musical examples presented in this chapter. What are some of the general features that Worlds of Music 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
• Music that accompanies a Quichua wawa velorio ritual
• 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
• Worlds of Music 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."