在 "Encienda el Fuego "节目中，歌手、演员和研究员米里亚姆-加西亚以自己独特的演唱风格诠释了阿根廷、玻利维亚和秘鲁的传统歌曲。
Im engen Austausch mit anderen Sänger:innen setzt sie ihre Arbeit mit Techniken wie Neubewertung und Diffusion in der Tradition ihrer Lehrerin Leda Valladares fort. Die 14 Lieder, hauptsächlich aus Argentinien stammend, wurden in ländlichen Gebieten gesammelt und von renommierten Forscher:innen wie Ventura R. Lynch, Manuel Gómez Carrillo, Carlos Vega sowie Leda Valladares untersucht. Gemeinsam mit weiteren erfahrenen Musiker:innen entwickelt Miriam García spannende Neuarrangements, die von kreativer Orchestrierung, neuen Harmonisierungen und einem innnovativen Interpretationsstil geprägt sind. So stellen sie auf „Encienda el Fuego“ das traditionelle Repertoire in einen modernistischen ästhetischen Rahmen.
歌曲信息
耶稣受难节（Tonada de Pascua）
玻利维亚塔里哈之歌
这一流派来自 chapaca 文化。它是复活节时唱的传统 coplas，既可以是阿卡贝拉，也可以用小提琴伴奏。通常由男性演唱。其旋律采用五声音阶。它们具有抒情结构，其中 音符 在四行诗中每隔两行出现一个 "mote"。 末行 和最后一行。
El sereno (sereno)
阿根廷圣胡安之歌
It is a type of singing associated to an old open position dance of the Cuyo region in Argentina (Provinces of San Juan, Mendoza, San Luis and parts of La Rioja and La Pampa), very popular in the early XIX century. It is estimated that in the first decades of the XX century it had already lost relevance. Some researchers hold the hypothesis that its origin can be found in dances of the Ranquel indigenous people, and that initially it was known as malón (Indian raid) or indiada (Indian mob). The sereno is a cheerful dance, full of naughtiness, in which the dancers show off with provocations and snubs, gallantry and disdain. The lyrics always refer to a typical character of colonial times, the sereno (watchman), who walked the streets at night, watching, singing the hours, announcing the weather conditions and tinging his work with funny attitudes.
La loca (chacarera)
阿根廷圣地亚哥德尔埃斯特罗之歌
袚芯褉芯写 chacarera 是阿根廷（主要是圣地亚哥德尔埃斯特罗省）的一种歌舞流派。它的传统表演形式有吉他、小提琴和 低音鼓 低音鼓（双鼓头膜风琴，高约 50 厘米，宽约 40 厘米）。还有传统的声乐 卡卡雷拉斯 也有器乐演奏。该舞蹈由双人自由舞动（但为群舞），有转圈和旋转。一些学者和表演者认为它是单节奏三四拍，而另一些学者和表演者则认为它是双节奏或多节奏舞蹈，旋律为六八拍，器乐为三四拍。疯女人》（La Loca）是一种非常古老的 chacarera 据说保留了其原始结构。
Encienda el fuego (vidala)
阿根廷卡塔马卡之歌
The comparsa (type of troupe) in unison vidala is one of the genres of singing with caja (double drumhead hand drum) which is currently performed in Argentina by rural communities of Diaguita, Calchaquí, and Coya origin, among others from North Western Argentina. Its multiple forms adopt tetraphony, pentaphony, diaphony, bimodality, and hybrid scales.
A lejos campos (tonada)
阿根廷圣路易斯之歌
Within Argentina, the tonada cuyana is a musical expression characteristic of the Cuyo region. It is a lyrical genre sung with a criollo guitar trio. Some scholars of this genre affirm that it appears before 1850, due to the decline of the Spanish tonadilla. At that time, it was also known by other names such as estilo, triste and yaraví.
新新人类小夜曲（传统流行小夜曲）
阿根廷圣地亚哥德尔埃斯特罗之歌
这是阿根廷歌手、作曲家兼研究员莱达-瓦拉达雷斯（1919-2012 年）在圣地亚哥德尔埃斯特罗省的田野采集中发现的奇特作品。这是一首传统的流行小夜曲，融合了 小夜曲 和华尔兹两种体裁，通常在婚礼当天唱给新郎新娘听。它的诗歌结构由十行小节组成。
4 月 7 日（赞巴）
阿根廷图库曼之歌
Considered the mother of the zamba genre, this song gave rise to the celebration of the “Zamba National Day” on that date. This is an unprecedented version compiled by the musician and composer Manuel Gómez Carrillo in Tucumán, in 1923, for which Valladares wrote the lyrics. A great mystery enshrouds the origin of this zamba, and much has been speculated about its name. One of the conjectures relates it to a homonymous place, located in the northeast of the Province of Tucumán (in the Burruyacú Department), where until the mid-XX century there was a logging camp which received workers from neighbouring provinces and border countries. The lyrics written by Valladares approach that subject.
Ya viene la triste noche (vidala)
阿根廷卡塔马卡之歌
The vidala is deeply rooted in the history of the region made up of the Provinces of Tucumán, Santiago del Estero and Catamarca and also reaching those of La Rioja and San Juan in the west. Each zone imposes its differences, although in all of them, the accompaniment is respected, which in general corresponds to the caja, with which different beats are performed according to its origin. The vidala has very particular and old musical characteristics. It does not follow western aesthetic patterns, but nurtures itself from elements and nuances proper of the original songs of the Andes. Unlike the other genres, the vidala originates as an already mixed criollo folkloric expression, with musical elements proper of the Spanish culture and of the original peoples of the Argentine northwest.
Matarina (huayno)
秘鲁卡哈马卡之歌
马塔里纳 马塔里纳是秘鲁卡哈马卡省一个名叫马塔拉的村庄的居民。在那里，狂欢节期间 coplas 到 huayno 旋律，以对位和集体的形式演唱，就像这个传统版本一样。
Esa viudita (vidala)
阿根廷拉里奥哈之歌
The vidala in duo in parallel thirds with caja is a weeping song of uncertain origin, although it is known that it is an Andean and precolonial expression which resembles the Peruvian weeping songs. The Argentine musicologist Carlos Vega maintains that it belongs to a musical system proper of South America. Normally, it contains love laments as its words express oblivion, impossible love and disappointment. It is found in the Provinces of La Rioja, Catamarca, Tucumán and Santiago del Estero.
何塞-胡利安（zamacueca）。
阿根廷胡胡伊之歌
据估计 zamacueca 在阿根廷，这个名字的舞蹈有一个变体，使其变得更长。到 1870 年 zamacueca 衍生为 cueca .之后，在利马，它采用了智利式的变化，并以智利式的名称传播开来。 zamacueca , 智利 或 cueca .起源于 的起源 起源于吉普赛人和黑白混血儿之间的音乐融合。 混血儿 秘鲁总督辖区时期居住在利马的吉普赛人和混血儿之间的音乐融合。吉普赛吉他的气质、讽刺、哀叹和反叛的演奏方式源自吉普赛，而合唱形式和 tundete (简单重复的吉他弹奏）则源自非洲。这种音乐融合在 XVI 和 XVII 世纪开始崭露头角。
普拉多
阿根廷布宜诺斯艾利斯省的歌曲
为同名开放式舞蹈伴奏的歌曲。根据阿根廷民俗学家和作家文图拉-林奇（Ventura R. Lynch，1851-1883 年）的说法，1850-1900 年间，布宜诺斯艾利斯省的农村地区，尤其是多洛雷斯地区，跳起了这种传统舞蹈。
乳酪和柠檬（Milonga）
阿根廷图库曼之歌
This expression is a rarity as it was compiled in Tucumán (by Leda Valladares), whereas the milonga is a genre typical of the Pampas. Two origins are assigned to the milonga, one of them linked to the criollo guajira or old milonga, which became popular by the mid-XIX century. According to some scholars, this genre replaced others of the criollo folklore, such as cielitos and medias cañas. It is estimated that in the mid-XIX century the genre expanded beyond the Pampa region. The second origin of the milonga, according to the famous Afro-Argentine payada singer Gabino Ezeiza (1858-1916), who introduced the structure of the milonga to the payada (improvised folk song), it comes from candombe, genre made up of musical expressions of African origin.
Baguala de Tucumán (巴瓜拉)
阿根廷图库曼之歌
鳕鱼
阿根廷萨尔塔之歌
La baguala is a lyrical genre which can be traced back to the Diaguita-Calchaquí culture (north-west of Argentina and north of Chile). Originally it was sung in kakán language and was considered one of the most ancestral genres of the traditional singing of the area. It is one of the basic vocal expressions of the singing with caja and it is nowadays sung with the poetic structure of the octosyllabic copla. Its melody is triton and the way it is sung is very ornamented. The coplas salteñas come from the Chaco area in the Province of Salta. Through them, the singer improvises his or her words and sings by means of the copla, with interludes where a particular touch of the so-called violin del monte or the caja intervenes.
如需了解有关上述流派和乐器的更多信息，可参阅以下著作：
Instrumentos musicales etnográficos y folklóricos de la Argentina (Ruiz Irma, Rubén Pérez Bugallo y Héctor Goyena, Eds. 1993. Buenos Aires: INM).
Panorama de la música popular argentina (Vega, Carlos. 1998 [1944]. Buenos Aires: INM).
Diccionario de la música española e hispanoamericana (Casares Rodicio, Emilio, Ismael Fernández de la Cuesta y José López-Calo. 2002. Madrid: Fundación Autor y SGAE).