This paper is focused on groups practising Andean music in Buenos Aires, in terms of how the traditional sonorities and the corporeal features which originated in Bolivia and Peru are recovered. Two key features of the lasting permanence of these practices are emphasized. The first feature has to do with the way feelings and emotions linked with the “community” and the complement with one another– which make up the unity of the Andean vision of the world– are brought forth, renewed and updated both by means of the speech and the performance in these practices. The second feature has to do with the way the persons participating in these practices solve by means of this speech any microconflict related to the musical structures arising as part of the performance experience, particularly in the round as the “icon” of the music. These structures appeal to the emotions and to the care of the traditional sonorities aiming at “sounding well” as part of a new corporeal attitude.En el presente trabajo se abordan las prácticas de grupos de música andina en Buenos Aires en términos de los modos de recuperación de sonoridades y corporalidades tradicionales originales de Bolivia y Perú, enfocando dos aspectos centrales de su perdurabilidad. En primera instancia, cómo este tipo de prácticas producen, renuevan y actualizan en el discurso y la performance sentidos y emociones vinculados al “comunitarismo” y la “complementariedad” en tanto unidad-visión del mundo andino. En segunda instancia, cómo los sujetos resuelven con este discurso las estructuras musicales microconflictivas que surgen en la experiencia de la performance –en particular en la ronda como “ícono” de esta música–, las que apelan a lo emocional y cómo cultivan la sonoridad tradicional o “sonar bien” como parte de una nueva corporalidad.