282:«They needed someone to fill the space for folk on the radio. There sang Violeta. I admired her. She was the same as all the women that I had met in the country.» The replacement lasted 3 months. «And I knew Violeta from her arrival. When I auditioned for her, I had prepared culen punch and some black biscuits to honor her. She had me sing the tune âLa jardinera,â which I knew very well, and it interested her. After, she had parties, and sometimes called me so that we could collaborate.» Some of those invitations came from the shelter of Violeta Parra in the Cousiño Park (1958) and her tent in La Reina (1965).
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In 1958, she founded the
Millaray Group. The folk band was introduced around 1960 at the Municipal Theater of Santiago, where an extensive investigation occurred in Chile, where they compiled dances like the pavo, the cielito, the trastrasera, the pericĂłn, and many others. In the group, she met the
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Starting in 1966, she taught in the
Science, Musical Art, and Drama Departments in the University of Chile. She was hired as a folk guitar professor in the Department of Folk Instruction in the Music School of Vespertina, taught the same subject in the Department of Music from 1968 onwards, and
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central market and in folk clubs that were successful during the time. Later, she received invitations from outcasts, so she visited France and
England in 1978, where she was named a member of the Institute of Song and Dance of Britain, Holland, Spain, and Finland in 1985 and Canada in 1987.
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Pizarro was the daughter of José Abraham
Pizarro and Blanca Hortensia Soto Figueroa. Her mother had studied at Chile's National Conservatory of Music and she was in her church choir, in an orchestra, and in theater and opera groups in
274:, tunes, religious songs, and dances like the chapecao and the chincolito, and she formed her first repertoire based on Lebu songs and dances of the folk group. And a second fundamental discovery was about to come. In 1957,
129:, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Knowledge.
219:. Gabriela was introduced to folk when she accompanied her father to collect rent from his tenants. Her mother influenced her in her early years, along with her grandmother, Elba GonzĂĄlez, who was a tavern singer.
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Similarly, she recorded the tapes "El folclor en mi escuela" and "Danzas tradicionales" in 1979 for Alerce
Productions, and she put on the show âNuestro Cantoâ with Ricardo GarcĂa in the Cariola Theater.
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In 1987, she resumed her work as a researcher, especially about romance. Under the guidance of the
University of Chile, she recorded the tape âRomances Cantados.â One year later, she published the book
226:, where she enrolled in Normal School No. 2. She participated in the school musical group and took guitar lessons with Professor Isabel Soro, whose recommendation helped her into a course lectured by
198:; October 14, 1932 â December 29, 1999) was a Chilean folklorist, a researcher, a teacher and a songwriter. She is considered one of the three leading researchers of Chilean folk, along with
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Pizarro had already seen the famous duo, the Loyola
Sisters, act in Santiago, and then she found a teacher in Margot who valued the popular art that she had learned about in her childhood.
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With that momentum, in 1956, Gabriela
Pizarro returned to Lebu and interviewed the singers Noemà Chamorro, de Quiapo, and Olga Niño, among others. From them she learned the cueca, the
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After 1973 and then death of HĂ©ctor Pavez in exile in 1975, the current economic and social situation forced her to become a popular street singer, mainly performing in the
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and became president of the
National Association of Folklore of Chile (ANFOLCHI), among many other activities, that would be interrupted by her death in 1999.
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taught folk dance in the
Department of Dance starting in 1971. With the Millaray Group, she recorded 5 long records, whose worked together until the
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Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
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Content in this edit is translated from the existing Spanish Knowledge article at ]; see its history for attribution.
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MĂșsica de ChiloĂ©: Folklore, Syncretism, and Cultural Development in a Chilean Aquapelago
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that she learned to play were the definitive start of her career. There she met
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Garrido, Waldo; Bendrups, Dan; Hayward, Philip (2018-12-03).
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Chilean folklorist, researcher, teacher and songwriter
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folklorist HĂ©ctor Pavez, who she would later marry.
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a machine-translated version of the Spanish article.
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365:. Rowman & Littlefield. pp. 39, 49.
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