This article addresses the relation between Andean ‘traditional music’ and circulations of people, objects, ideas and sounds. Although many studies on Andean indigenous music have explored such circulations, scholars still tend to understand musical practices in terms of ‘cultures’. The case of indigenous music from Otavalo, in the Ecuadorian Andes, encourages us to go beyond this approach. I make two arguments. First, by conceiving of the translocal/transnational flows that have shaped ‘traditional music’ from Otavalo through the concepts of ‘network’ and ‘music world’, I unsettle the link – underlying previous approaches – between a specific people, music and place. Second, through the concepts of ‘assemblage’ and ‘mediation’, I closely look at processes of ‘traditionalisation’ and ‘indigenisation’ to show how, in the context of multiple circulations, social actors nevertheless produce a specific link between people, music and place in order to make a musical practice ‘traditional’ and/or ‘indigenous’.

本文探讨了安第斯“传统音乐”与人、物体、思想和声音的流通之间的关系。尽管许多关于安第斯土著音乐的研究都探索了这种循环，但学者们仍然倾向于从“文化”的角度来理解音乐实践。厄瓜多尔安第斯山脉奥塔瓦洛的土著音乐案例鼓励我们超越这种方法。我提出两个论点。首先，通过“网络”和“音乐世界”的概念，我构想了从奥塔瓦洛塑造“传统音乐”的跨地方/跨国流动，我打破了特定人群、音乐和地点之间的联系——这是先前方法的基础。其次，通过“组合”和“中介”的概念，我仔细研究了“传统化”和“本土化”的过程，以展示如何，