TO THE USE OF OUR LAND. REFLECTIONS ON SOME MUSICAL ASPECTS OF THE MARTÍNEZ COMPAÑÓN CODEX AS SEEN BY A PRACTICAL MUSICIAN

Abstract

Many and varied scientific studies have emerged in recent years in relation to the famous codex “Trujillo del Perú” by Baltasar Martínez Compañón. Its encyclopaedic nature certainly allows researchers, from various fields of knowledge, to develop their theories, studies and analyses. This article examines two aspects related to the musical universe of this great work. On the one hand, and as a complement to the study of Teresita Campana contained in this same magazine, we will focus on the first musical work of the codex: the cachua Niño il mijor, analysing musical and historical elements of this piece, which will subsequently allow for a proposal for practical execution based on these same historical sources. On the other hand, our objective will be the analysis of the four harps represented in four watercolours of the codex. In conclusion, we will make a quick journey through the presence of the harp in northern Peru from the beginning of the 17th century to the 20th century, thus allowing us to perceive the great importance that the iconographic representations of Compáñon have for the history of the harp in Peru.