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Objective: The purpose of this research work is to analyze the changes in the musical structure in relation to the traditional elements of the Estudiantentina Puna in times of postmodernity as a practical theoretical element for the improvement of musical education, contributing to studies on the behavioral change towards sustainability and its influence on the SDGs. Theoretical Framework: The processes that have taken place over time, the defined categories of inquiry were described in an analytical manner. Method: Methodologically, the research corresponds to the qualitative paradigm at the level of ethnographic study. Results and Discussion: The interviews were conducted with the directors of the different musical centers in the Puno region, in which musical instruments have been incorporated to interpret the music of the Puno student from the 50s to the present, such as the saxophone and the trumpet. , with silence that are used for the Puno gang Research Implications: Nowadays it is observed in student carnivals with mandolins, with charangos, screamers, violins, accordions, quenas, classical acoustic double bass, the mariachi bass, the Puno guitarrón, percussion has also been added, which takes the third. element of music, rhythm, even the congas were incorporated into the Qotamarca musical center of Dr. Rolando Montes de oca from the city of Puno, Peru, which has a good sound, likewise there was an evolution where more development is given to the interpretation of each instrument, all the instruments. Contribution: The same melody is no longer played, they are dressed with more instrumentation, more work at a contrapuntal harmonic level, this research is a contribution to society and to the highest level institutions of the city of Puno.
Chambi-Idme et al. (Wed,) studied this question.
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