Introduction
The Introduction posits the theoretical concepts and bibliographical context for the book. Based on testimony from Josefa Soto, a nun who played the harp in the convent of La Victoria from the late eighteenth century onwards, it states that duality was an essential trait of colonial music and culture. Also, it explains some of the similarities and differences with previous studies about music in colonial cities, and reflects on the concepts of “thick narrative” (Burke), history, and microhistory (Ginzburg), among others. It then discusses the cities of Santiago and Lima, showing that the latter was the main referent for the former and that several of Santiaguino musical practices and culture can be better understood in the light of Lima’s influence. The Introduction concludes by describing the primary sources, including both historical documents and music scores found in several archives from Chile and abroad, the limitations of this research, and the acknowledgments.