From Andean to alternative: the formal and aesthetic transformation of "La bocina"

Abstract

This article analyzes the formal, timbral, and aesthetic transformation of the song La bocina by Rudecindo Inga Vélez, comparing its version performed by the Hnos. Miño Naranjo in the Fox incaico style with a contemporary reinterpretation by La Toquilla. Using a qualitative and musicological approach, the model proposed by LaRue and Tagg was applied to understand how these musical modifications express processes of cultural hybridization in Ecuadorian music. The results show that the contemporary version adds an electric timbre that, in turn, recontextualizes Andean identity within a multicultural aesthetic framework. However, this does not imply a break with tradition, but rather an aesthetic reformulation that allows for the symbolic continuity of the Andean repertoire. The study concludes that La bocina stands as an example of musical hybridization and dynamic cultural identity, reaffirming that Ecuadorian music is a space of memory, continuity, and cultural diversity.