Abstract
Studies on marimba de chonta music from the South Pacific region of Colombia have extensively focused on socio-cultural issues, such as race, ethnicity, function, and origins, that are characteristic of this musical tradition. Even though these studies explore the intricacies of the performance practices of the instruments, particularly the marimba, few of them examine the musical nuances from an ensemble perspective. Marimba de chonta groups consist predominantly of percussion instruments, mainly the marimba de chonta, guasá, cununo, and bombo, along with singing by cantadoras or cantoras (female singers) or cantadores or cantores (male singers). These music ensembles play a crucial role in defining the sounds and cultural practices that are associated with the population of this region of Colombia.
This study identifies musical-pedagogical tools derived from empirical marimba de chonta music practices; analyzes the musical tendencies of the ensemble from a chamber music perspective (musical interaction, synchronous playing, instrumental hierarchy, and deep listening); and provides musical elements that classically trained musicians can use to diversify and expand their chamber music and instrumental performance skills. Moreover, by emphasizing the significance, depth, and pertinence of incorporating the study of this music within academic curricula, I bring to the forefront the work of traditional musicians in academic environments where traditional musics tend to be unrepresented and underappreciated.