Fernando Rios is Associate Professor in Ethnomusicology at the University of Maryland. His research interests include Latin American (especially Bolivian) folkloric, indigenous, and popular music; folklorization and nation-building; music and social-political movements; the politics of cultural appropriation; and historical ethnomusicology.

Fernando Rios' meticulously researched and fascinating history is an indispensable resource for understanding how Andean folk music came to take the world by storm. Although powerfully invoking ideas and images of indigenous Andean culture, Panpipes and Ponchos demonstrates that the conjunto (with its standard line-up of kena flute, charango, guitar, bombo drum, and later panpipes) was thoroughly transnational, middle class, and rooted in Bolivia's turbulent twentieth-century history.

• Acknowledgments Chapter 1: Introduction Part One - Foundations of the Bolivian Folkloric Music Movement Chapter 2: Musical Dimensions of Indigenismo Chapter 3: Estudiantinas and Female Vocal Duos Part Two - Musical Folklorization in the Period of Revolutionary Nationalism (1952-1964) Chapter 4: State-Sponsored Folklorization of Music-Dance Traditions in the MNR Era Chapter 5: Bolero Trios, Urban Mestizo Panpipe Groups, and Early Incarnations of the Andean Conjunto Part Three - The Folklore Boom and Its Legacies Chapter 6: 1965, The Onset of the Folkloric Music Boom Chapter 7: Los Jairas, Peña Naira, and the Folklore Boom Chapter 8: Postlude References Index

Fernando Rios is Associate Professor in Ethnomusicology at the University of Maryland. His research interests include Latin American (especially Bolivian) folkloric, indigenous, and popular music; folklorization and nation-building; music and social-political movements; the politics of cultural appropriation; and historical ethnomusicology.

Fernando Rios' meticulously researched and fascinating history is an indispensable resource for understanding how Andean folk music came to take the world by storm. Although powerfully invoking ideas and images of indigenous Andean culture, Panpipes and Ponchos demonstrates that the conjunto (with its standard line-up of kena flute, charango, guitar, bombo drum, and later panpipes) was thoroughly transnational, middle class, and rooted in Bolivia's turbulent twentieth-century history.

• Acknowledgments Chapter 1: Introduction Part One - Foundations of the Bolivian Folkloric Music Movement Chapter 2: Musical Dimensions of Indigenismo Chapter 3: Estudiantinas and Female Vocal Duos Part Two - Musical Folklorization in the Period of Revolutionary Nationalism (1952-1964) Chapter 4: State-Sponsored Folklorization of Music-Dance Traditions in the MNR Era Chapter 5: Bolero Trios, Urban Mestizo Panpipe Groups, and Early Incarnations of the Andean Conjunto Part Three - The Folklore Boom and Its Legacies Chapter 6: 1965, The Onset of the Folkloric Music Boom Chapter 7: Los Jairas, Peña Naira, and the Folklore Boom Chapter 8: Postlude References Index

Fernando Rios is Associate Professor in Ethnomusicology at the University of Maryland. His research interests include Latin American (especially Bolivian) folkloric, indigenous, and popular music; folklorization and nation-building; music and social-political movements; the politics of cultural appropriation; and historical ethnomusicology.

Fernando Rios' meticulously researched and fascinating history is an indispensable resource for understanding how Andean folk music came to take the world by storm. Although powerfully invoking ideas and images of indigenous Andean culture, Panpipes and Ponchos demonstrates that the conjunto (with its standard line-up of kena flute, charango, guitar, bombo drum, and later panpipes) was thoroughly transnational, middle class, and rooted in Bolivia's turbulent twentieth-century history.

• Acknowledgments Chapter 1: Introduction Part One - Foundations of the Bolivian Folkloric Music Movement Chapter 2: Musical Dimensions of Indigenismo Chapter 3: Estudiantinas and Female Vocal Duos Part Two - Musical Folklorization in the Period of Revolutionary Nationalism (1952-1964) Chapter 4: State-Sponsored Folklorization of Music-Dance Traditions in the MNR Era Chapter 5: Bolero Trios, Urban Mestizo Panpipe Groups, and Early Incarnations of the Andean Conjunto Part Three - The Folklore Boom and Its Legacies Chapter 6: 1965, The Onset of the Folkloric Music Boom Chapter 7: Los Jairas, Peña Naira, and the Folklore Boom Chapter 8: Postlude References Index