Margot Loyola

She published a large body of work dealing with the folk music and dances of all Chilean regions, most notably on the cueca and tonada.

[6] In 1936 the National Conservatory's director, Armando Carvajal, invited Margot to begin collecting folk music in the rural areas surrounding Santiago.

[7] In the 1950s, after the separation of Las Hermanas Loyola, Margot began studying with folklorists and musicians across Latin America, including Carlos Vega in Argentina, Lauro Ayestarán in Uruguay, and José Maria Arguedas in Peru.

Folkloric groups such as Conjunto Cuncumén began as a direct result of these schools, positioning Loyola as a musical influence on musicians such as Víctor Jara and Rolando Alarcón and the Chilean nueva canción movement, albeit somewhat indirectly.

[10] Loyola researched the folklore and traditional musical styles of all the regions of Chile as well as Easter Island (a Chilean province, located in the south Pacific Ocean).