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In Latin America, the field of study of popular music then appears crossed by paramedial, local, traditional and also elite music. It is a field that seems to resist being limited and that will permanently break the frames that we intend to put on it. José Antonio Robles tiktok video downloader warns us of the speed of change in popular music; its continual movement "would prevent you from taking a good picture of it," he notes.
Ana María Ochoa (2000), for her part, reminds us that we have arrived at a field that is continuously being defined by the different practices of representation that inhabit, administer and use it. In this way, commercial, political and academic interests compete for a field in permanent mobility.
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