Just as Ketty Wong, an Ecuadorian ethnomusicologist, asserts in her theory "That el Pasillo became the ideal means to impose dominant ideology and culture of the nascent bourgeoisie " where poetry gave loose rains to texts like the enhancement of the beauty of Ecuador and its people in the same manner it was a "fancy way of wooing a woman, distinguishing in this way a refined and elegant education of the rising bourgeoisie, " (cite) 1. It was not until the second half of the twentieth century where a distinct musical influence and indigenous poetic was valued. In the early twentieth century this genre emerged from the dance halls in which the "Creole aristocracy, in the long evenings, danced a rate faster than the waltz, forcing the dancers to take short steps or "pasillos", " name which with the dance was started to be identified with (Herrera, cite)1. Furthermore, el Pasillo was so well received that it became the favorite repertoire for institutional bands, amateur musicians, and neighboring students. It was a must have at "serenades, family gatherings, recordings, radio shows. "(Herrera, Cite)1. By the mid twentieth century el Pasillo reached its peak as countless composers, like Julio Jaramillo, appeared and converted this type of melody in to the musical symbol of Ecuador. .
One of the major contributing factors to Pasillo's rise in popularity were its means of diffusion. The radio played a critical role in the nationalization of Pasillo in Ecuador. As mentioned by Penarreta Suarez, "the recording of El Duo Ecuador comprised of Nicasio Safadi and Enrique Ibáñez Mora in 1930, realized in Ney York, generated a success in Pasillo "Guayaquil de mis amores ", thus achieving to internationalize a genre that already took increasingly dominant musical force as a representation of the Ecuadorian identity "( cite). The radio not only helped Pasillo become better known in Ecuador but also internationally.
