Andean music in Colombia , like all forms of music, is a means of expression and emotion whether it is political, social, or personal. From the end of the nineteenth century and into the beginning of the twenty-first, Colombian society has become more urbanized, socialized, and overcome by capitalization by Western cultures. As with other Latin American communities, cultural nationalism has been widespread and translated into music. This music is created often by adapting European styles and African-derived rhythms that satisfy local tradition (Wade, 2000). Increased pressure from the government has pushed many small towns into playing a larger role economically, socially, and politically to link Colombia to the rest of the world. William Gradante (1999) made visits to southern Colombia to observe their folk-music habits. Gradante (1999) found that “…every household has at least one radio tuned to any one of several stations featuring folk and popular music—non-stop, day and night” (Gradante, 1999). Music is part of everyday life for Colombians.

Religious groups played a major role in how much some Colombians were allowed to listen to music. One specific group, Semana Santa, performed festive, religious, and funeral shows. In some Colombian communities, certain styles of music are not permitted while organizing and sponsoring some of these processions that occur at night. Because of this, the Semana Santa became a group that was comprised of about sixteen men of varying economic status and jobs; which was used to bring the people together and rejoice with others not necessarily at their same level socioeconomically. An example a common genre of Colombian folk music that is allowed to be played during religious ceremonies (also very popular to Columbians) is called “Vieja Guardia” with the common theme of martyrdom (Gradante, 1999). This being just one of the many cultural significant aspects of music, especially Andean, in Colombia .

Peter Wade (2000) describes that the “‘father of Colombian popular music'” was Pedro Morales Pino; he also is credited with helping Andean music rise in society. He began touring the country and eventually all of Central America and the United States with his soft melodies and nationalistic lyrics in his music (Wade, 2000). Andean music is most commonly associated with rural popular music helping bring people from all walks of life to love music (Gradante, 1999). Colombian composers began to crave international recognition so they began learning, going to school, and becoming more educated about music. “It was …near the beginning of the twentieth century, that the Colombian folk and popular music first came to be performed by musicians with conservatory training” (Gradante, 1999). Instead of performing in backyards and throughout the rural countryside, performances began taking place in the cities at theaters, salons, or back streets for exposure. They began regarding their music as “musica brillante” which included waltzes, gavottes, and minuets with pieces by Mozart, Beethoven, and Brahms, as well as other Columbian composers. This, they hoped, would draw some international attention to then set off and tour the world (Gradante, 1999).

The significance of Andean music to the communities and cultures from around the country may not be grand or of great importance; but this music, as in most cultures, provides the freedom to express emotion and culture. Even though Andean music may not be widespread or popular, it remains traditional, emotional, and expressional whether is be political, social, religious, or personal. Ranging from hip-hop to traditional sounds, Andean music provides a means for native people and others to spread their beliefs and sounds via music.