Abstract
Abstract This article examines the idea of style within the Panamanian conjunto tradition, focusing specifically on its critical intersection with notions of genre, nationalism, and regional identity. Among its most significant attributes, style is understood by performers to be central to achieving the all-important goals of maintaining genre identification and distinguishing oneself from one’s peers and professional competitors. Framed on the duality of “tradition” and “innovation,” this article considers the way conjunto styles are developed and modified during the course of professional activities with the intention of informing our own usages of the terms “genre” and “style” within ethnomusicological discourse.
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