From 1900 through 1950, Ecuadorian composers Pablo Traversari, Sixto María Durán, and Segundo Luis Moreno articulated theories of nationalist art music and debated over the inclusion of Incan music in the construction of Ecuador’s music history. Ecuador’s historical past and national identity was split between the Incas (who are strongly tied to rival Peru) and the Kingdom of Quito. Traversari’s goal in developing Ecuadorian art music was to connect it to a continental Americanist style, drawing on what he viewed as authentic Incan music over “indigenous music, improperly called Incan.” Although his historical writings are dubious, Traversari’s music explores the possibilities of the Incan pentatonic scale. One example is his 1949 pentatonic arrangement of Chopin’s Étude, Op. 25, No. 7, which he created to demonstrate the pentatonic scale’s use in art music. Moreno took a different approach to Ecuadorian music history, arguing that it came from Quito music and that Incan music had no historical influence. Moreno also took an evolutionary view of music, arguing that the diatonic scale was the next step in musical development after the pentatonic scale. Durán presents yet another view of Ecuador’s musical heritage, categorizing all pre-Columbian South American music as “Incan.” In each case, concepts of Incan (or non-Incan) music in Ecuador’s music history were as much a product of political and cultural identity as they were a rigorous search for historical truth.

Works: Pablo Traversari: Arrangement of Chopin’s Étude in C-sharp Minor, Op. 25, No. 7 (242-44)

Sources: Chopin: Étude in C-sharp Minor, Op. 25, No. 7 (242-44)

Index Classifications: 1900s

Contributed by: Matthew Van Vleet