Peruvian composers Armando Guevara Ochoa (1926–2013) and César Vivanco (b. 1949) borrow and transplant musical elements from Andean folk tradition into their compositions for the modern classical flute. Guevara Ochoa's Yaraví, Danza y Huayno and Vivanco's Fantasía Andina are solo flute pieces rooted in Peruvian folklore traditions and Andean instrumental performance. The purpose of this dissertation is to provide flutists with technical and interpretative guidance in preparing these pieces. Yaraví, Danza y Huayno, a suite of three short dances, and Fantasía Andina, a free-meter piece in an improvisational style, incorporate elements that utilize the performance techniques of Andean instruments, with use of quotations from traditional Andean folk music. References to quenas (traditional vertical flutes), zampoñas (panpipes), pututos (ceremonial natural horns), charangos (Andean guitars) and Andean harps are integrated within the works and fused with themes borrowed from iconic pieces such as El cóndor pasa, and traditional harmonic, melodic and rhythmic structures of the huayno (fast festive dance) and yaraví (slow melancholic song). The techniques and traditions borrowed from Andean folk music are not notated in these scores due to the limitations of musical notation. Performers are expected to portray the Andean musical identity of the composers' intent. This dissertation assists performers unfamiliar with the traditions of Andean music to identify and understand the implicit Andean roots in both works and develop techniques to accurately represent sounds of Andean Peruvian traditions, with a deeper, culturally informed interpretation of this music.

Le présent mémoire traite principalement de l'association du hatun charango – un instrument de ma création appartenant à la famille du charango andin – à des formations instrumentales occidentales (musique de chambre et d’orchestre). La conception de ces œuvres a engendré une réflexion sur l’importance, dans mon travail artistique, des relations entre la culture de tradition orale – ici, la culture andine – et la culture de tradition écrite – la culture occidentale en général –, et tout particulièrement dans le domaine musical. Ces enjeux sont ici abordés selon une réflexion personnelle liée à ma pratique artistique de création musicale. Ce mémoire est donc le reflet de certains aspects importants de mon travail de création pour les trois œuvres à l’étude. Ces œuvres sont : 1°) Yampayec pour hatun charango et quatuor à cordes 2°) Chavin pour flûte, clarinette, 2 percussionnistes, hatun charango, piano, violon et violoncelle 3°) Khipufonía pour hatun charango, quenacho et orchestre