Abstract
This article is developed within the framework of the artistic and academic trajectory of the Orchestra of Native Instruments and New Technologies (OIANT) of the UNTREF. It is an extract from the first results of a research that I have been carrying out since 2019 on the use of pre-Hispanic clay instruments for contemporary musical creation, a category that I have called the "Sound Art of Clay".
Thus, this research was approached from a descriptive and documentary methodology, as well as from a perspective focused on contemporary academic music, constituting a field of study and artistic practice that explores various forms of musical expression in the current context. Likewise, it sought to understand how pre-Hispanic art is related and integrated within this field, considering the reciprocal influences and new perspectives that emerge from this convergence between the ancestral and the contemporary in the musical field, where these artifacts experience a revitalization through musical creation and their interpretation in concerts both in Argentina and in various parts of the world.