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Violeta Parra (1917-1967), a popular folk singer-songwriter and musicologist played an essential role in Chilean music in the 20th century. She researched and recovered the poetry and songs of rural Chile.

The Nueva Cancin Chilena introduced a resurgence of folk music in the 1970s, including Andean music. Leading acts included Vctor Jara, Patricio Manns, Violeta Parra and bands such as Illapu, Inti-Illimani, Los Jaivas (who combined Andean music with rock) and Quilapayn.

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Chilean cumbia, derived from Colombian cumbia, has become popular throughout Chile. Leading cumbia artists include Noche De Brujas, Los Cndor De La Cumbia y Los Rancheros De Ro Maule. Some Chilean musicians combined cumbia with rock and other genres. Some of the best knowen ones are: Chico Trujillo, Juana Fe, La Mano Ajena, Villa Cario, Cholomandinga, Combo Ginebra, La Sagrada, La Teruka and Guachup.

Chilean music refers to all kinds of music developed in Chile, or by Chileans in other countries, from the arrival of the Spanish conquistadors to the modern day. It also includes the native pre-Columbian music from what is today Chilean territory.

Membranophone instruments include the Makawa, or kakel kultrung, a double-headed drum; and the Kultrun or Cultrun, a ceremonial drum and the most important musical instrument in Mapuche culture, used by the machi (healer or sorcerer) for religious and cultural rituals.

Music in the southernmost regions of modern Chile was produced by the Fueguino peoples, native inhabitants of Tierra del Fuego, including the Onas, the Yaganes, the Yamanas and the Alacalufes).[9] The Fueginos caught the attention of explorers in the early of the twentieth century, with North American Colonel Charles Wellington Furlong the first to record phonograph records of Ona and Yagan songs between 1907 and 1908. German priest and ethnologist Martin Gusinde studied and recorded their music, and in a letter from July 23, 1923, wrote of ceremonies with music and dancing very similar to those observed in the Amazon, which he described as sad, solemn and very limited in tonal range.[1]

Popular music in the colonial period and during the struggle for independence was highly influenced by military bands and by the church. There were few musical instruments and very little opportunity to learn to play an instrument outside of military bands or churches if you were not from a wealthy family.

During the first years of the republic, most of the leading musicians came from abroad. In 1823, a wave of professional musicians came to Chile, including: Bartolome Filomeno and Jose Bernardo Alzedo from Lima, Peru; Juan Crisstomo Lafinur from Crdoba, Argentina; and the Spaniard,[10] one of the most important figures of Chilean music of this period. Having studied the harp, guitar, piano and singing with Federico Massimino in Europe, Isidora's superior musical knowledge was welcomed in the Chilean Tertulias (social gatherings of the wealthy, like a salon). She formally contributed to the development of Chilean music when she helped found both the first National Conservatory of Music and the Academy of Music in 1852. Some of the first opera and ballet performances in Chile also took place around this time.

Northern traditional music in the territories between the regions of Arica y Parinacota and Coquimbo has been highly influenced by Andean music and by the Quechua, Aymara, Atacama and other cultures who lived around the area occupied by the Inca Empire prior the European arrival.Other elements that influenced northern folklore included Spanish colonial military bands and the Catholic Church, due to the fact that both institutions had music as part of their ceremonies, and were therefore some of the only people who had musical instruments and the means to teach music methodically.[15]Traditional music has a dominant role in religious celebrations, which, in this zone of the country as in many other parts of the Americas, blends pre-Columbian and Christian forms of celebrating holy days. One example of this mixture is the Diabladas (Devil Dance) ritual, a colourful mix of dances and instrumental music. The La Tirana Festival, which takes place every July 16 in the town of La Tirana, is a fine example of both diabladas and Christian devotion.

Among the other dances and music that are part of central Chilean folklore are the "Sajuriana", originally from Argentina, "the Refalosa" introduced from the north, and the "Vals", inherited from Europe and very popular during the first half of the nineteenth century among the upper classes. Others that are less well-known today include the "Corrido", "La Portea", "El Gato", "La Jota", "El Pequn", "El Cuando", "El Aire", "El Repicao", "La Polka", "La Masurca", the "Guaracha campesina" and the "Esquinazo".[18]

The cueca (short for zamacueca) has long been considered the "most traditional music and dance of Chile".[19] It first appeared in 1824, though its origins are not clear. Since September 18, 1979, cueca has been affirmed as the official national dance.

The Tonada is another important form of Chilean traditional song, arising from the music brought by Spanish settlers. It is not danced and is distinguished from the cueca by an intermediate melodic section and a more prominent melody in general. Several groups have taken the tonada as their main form of expression, such as Silvia Infantas y Los Baqueanos - Los Cndores, Los Huasos Quincheros, Los Huasos de Algarrobal, Los de Ramon and others. The modern rural tonada is typically simple and "monotonous", as described by Raquel Barros y Manuel Dannemann.[22][23][24]

Easter Island folk music has different origins from those of continental Chilean music. Instead, traditional music from the island consists of choral singing and chanting, similar to Tahitian music and the traditions of other Polynesian cultures. Families often performed as choirs, competing in an annual concert. They accompanied their chanting with a trumpet made from a conch and a percussive dancer jumping onto a stone which is set over a calabash resonator. Other instruments used include the kauaha, created from the jaw bone of a horse; the accordion; and stones, which are clapped together for percussive effect. The most characteristic dances are:[32]The "Sau Sau", a dance of Samoan origin that was introduced in the 1940s. The dance emphasizes female grace and sensuality and in the choreography, the couple performs flexible movements of the hips and hands.The "Ula Ula", a dance of Tahitian origin that is usually performed during local festivities. The couples dance separated undulating their hips laterally.The "Tamur" also a Tahitian dance, is very fast and acrobatic and requires highly skilled dancers.The Rainsick, Ukulele, Drum, and flute are instruments typically used in Rapa Nui music.

Rock and roll music was first produced in Chile in the late 1950s by bands that imitated and were inspired by international rock and roll hits from the U.S., often translating these songs for the Chilean market. This movement was known as the Nueva Ola (New Wave).[38][39] During the second half of the 1960s, after the success of rock and roll music, the Fusin latinoamericana (Latin American fusion) and Nueva Cancin (New Song) genres were born in Chile, bringing together rock and roll and Latin American folk music. Los Jaivas are an example of this fusion between the two convergent styles.

In the 1970s, however, the country's rock scene declined due to political repression[40]The 1980s saw the beginning of a revival of rock music in Chile which has continued until the modern day, with the growth of many rock subgenres and many Chilean bands finding success on the international market in recent years.Some of the most successful Chilean rock bands are: Los Prisioneros, Lucybell, La Ley, Javiera Mena, Francisca Valenzuela, Los Jaivas, Los Tres, Chancho en Piedra, Panico, Sol y Lluvia, Nicole (Chilean singer), Los Miserables, Buddy Richard.

The electronic music movement as we know it today reached Chile in the 1990s, but there are some earlier milestones worth mentioning, like the sound experiments of engineer and scientist Jose Visencio Asuar in 1959 after the 1958 visit of physicist Werner Meyer-Eppler, and the production of the first electronically generated music records in the 1960s.[1]

Among the Chilean upper class, Mexican music has gained more acceptance since the 2000s. In part, this trend is explained by the popularity of the musical talent show Rojo Fama contra Fama on TVN, which aired for the first time in 2002.[45] Mara Jos Quintanilla in particular gained acclaim on the program by singing ranchera songs.

The practice of jazz is one of the most popular manifestations of popular music in Chile. The most regular tracks appear towards the 1920s around the figure of the composer, violinist and researcher Pablo Garrido, manager of the first ensembles and local jazz orchestras. From 1940, a new generation of young musicians aligned themselves with jazz improvisation beyond the predecessor jazz, which they considered commercial, baptizing it hot jazz. This would result in the founding of the Club de Jazz de Santiago in 1943 and the formation of the first national all-stars, The Chilean Aces of Jazz, in 1944 and 1945.

Modern jazz broke into the 1960s at the initiative of the pianist Omar Nahuel, at the head of the Nahuel Jazz Quartet. The band was not only a pioneer in the development of new jazz forms, such as bebop or cool, but also brought together enthusiastic musicians of the figure of Charlie Parker and his descendants. In the 1970s, as in the rest of the world, the electric jazz installed a new expressive form and gave rise to new soloists in Chile.

Since the 1980s, jazz has had in Chile the possibility of training professional musicians thanks to the creation of ProJazz, the Escuela Moderna de Msica and the School of Music of the SCD, which has allowed the development of the jazz language during the following decades. With the creation of the Festival Internacional Providencia Jazz in the year 2002, along with other communal festivals, jazz has achieved greater diffusion for the non-expert public in the 21st century. e24fc04721