music has radically changed

In Latin America, the field of study of popular music then appears crossed by paramedial, local, traditional and also elite music. It is a field that seems to resist being limited and that will permanently break the frames that we intend to put on it. José Antonio Robles (2000) warns us of the speed of change in popular music; its continual movement "would prevent you from taking a good picture of it tiktok video without watermark," he notes. Ana María Ochoa (2000), for her part, reminds us that we have arrived at a field that is continuously being defined by the different practices of representation that inhabit, administer and use it. In this way, commercial, political and academic interests compete for a field in permanent mobility.

What is certain is that the media coverage of music has radically changed the way we have practiced and used music in the 20th century. Anthony Seeger reminds us that musical practice is no longer a face-to-face event for the city dweller, and that new genres, styles, and audiences have been created through mediatization (1998: 51). Although we may lament the vulgarization, simplification and standardization produced by the media, we must also recognize that it has performed important musical and cultural functions, not only influencing the appearance of new genres as Seeger points out, but also transforming itself into a vehicle of memory, contributing to the construction of national identities and expanding the transmission of tradition. Carlos Rojas (2000) maintains that we are facing the definitive positioning of recorded sound as a vehicle of communication and redefinition of musical tradition