This monographic work is intended to present the origin, development, and scope of the first musical entity that existed in Bogota in the mid-nineteenth century. Foreign migration as a state policy, contempt for so-called inferior races and their native cultural expressions, the willingness to cling to a supposed European heritage by importing musical culture, fashion, and bourgeois customs, reflected the Conscious intention to promote a mode of culture, to introduce the identity and civilizing elements that the orphan of the libertarian project had propitiated. This desire for identity with European culture was crystallized in a private associative entity, which originated in 1846, within a handful of foreigners and a group of amateur musicians from the local elite of Bogota. This musical society generated a cultural revolution around symphonic and chamber music, which resulted in the omnipresence of the piano and the social promotion of women as artistic dilettante. The polarization of the musical taste between European romanticism and native music’s was finally reconciled in the current customs, in which the Bambuco It was enthroned as national music, consolidating an identity musical air for Colombia, in the aftermath of the nineteenth century.