This dissertation deals with how a social aesthetic generates a vocal/ritual practice by way of a dialogue with a musical code. It is a case study carried out in the Santa Cruz Xoxocotlán community of Oaxaca State, where there is a position designated as the “Apostolate,” the person responsible for singing the praises in the annual ritual cycle. This example demonstrates how the indigenous and mixed-race societies of Oaxaca generate new, musical/ritual codes through a long-term process. Its origins date back to the centuries throughout which the evangelization process in Latin America took place, and is a product of the internalization of modernity in its capitalistic phase by way of a Baroque ethos (a theoretical concept outlined by Bolívar Echeverría, which helps in the understanding of this phenomenon). This ethos is revealed in a socially constructed aesthetic, based on a dialectic dialogue and using a specific vocal technique.