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We will understand as urban popular music a mediatized, massive and modernizing music. Mediatized in music/audience relations, through industry and technology; and music/musician, who receives his art primarily through recording. It is massive, since it reaches millions of people simultaneously, globalizing local sensitivities and creating suprasocial and supranational alliances. It is modern, due to its tik tok video downloader symbiotic relationship with the cultural industry, technology and communications, from where it develops its ability to express the present, a fundamental historical time for the young audience that supports it.
From a more anthropological perspective on the problem, as Irma Ruiz rightly demands, there is no doubt the existence of popular urban musical practices that lack massiveness, since they bring together local communities; of media coverage, since it is the communities themselves that self-produce their musical events, and of modernity, since traditional values prevail in them. However, most of these cases, being in urban contexts, have a latent massiveness, since such communities are multipliable; there are certain degrees of media coverage in the way musicians have received their art; and the values of tradition can be mixed with the attachment to the memory of a past modernity. Examples of these cases can be found in the musical practices of immigrant groups, in the rock recitals of the so-called "urban tribes" and in traveling musicians. If none of this happened, we would be facing manifestations of urban folklore, as in the Chilean cueca or in the practices of organ grinders in Santiago and Valparaíso
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