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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Freestyling: The Case of Classically Trained Musicians in La Paz, Bolivia Vivianne Ines Asturizaga Hurtado De Mendoza Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FREESTYLING: THE CASE OF CLASSICALLY TRAINED MUSICIANS IN LA PAZ, BOLIVIA By VIVIANNE INES ASTURIZAGA HURTADO DE MENDOZA A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music 2018 Vivianne Ines Asturizaga Hurtado de Mendoza defended this thesis on April 11, 2018. The members of the supervisory committee were: Frank Gunderson Professor Directing Thesis Michael Bakan Committee Member Steven Kelly Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the thesis has been approved in accordance with university requirements. ii A mis colegas músicos que con el día a día construyen el nuevo sonar y a los grandes músicos del país, nuestros dinosaurios, que con su camino nos han regalado un legado musical, este tan apreciado regalo espiritual… [To my music colleagues who with their day to day activities build their soundscapes, and to the great musicians of Bolivia, who have left a greatly appreciated gift of spiritual and musical legacy] A mi familia que también incluyen grandes amigos que sin su apoyo incondicional esto no hubiese sido posible… [To my family, including all my great friends, whose unconditional support made a big difference...] iii ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Dr. Frank Gunderson, for his continuous support in the writing of this thesis and throughout my master’s degree studies in ethnomusicology overall; for his motivation and patience; and for inspiring creativity, profound insight, and immense knowledge. His guidance and kindness helped throughout the research and writing of this thesis. Apart from my advisor, I would like to thank the other members of my thesis committee, Dr. Michael Bakan and Dr. Steven Kelly, for their insightful comments and encouragement, and for the hard questions that motivated me to widen my research to encompass various perspectives. My special thanks go to Professor Eva Amsler, who provided with the opportunity to come to Florida State University and inspired and mentored me throughout my time in the U.S., and for our various conversations about Bolivia and her care for our Bolivian musical community. Thank you also to my music colleagues and Hispanic Graduate Students Association friends for the stimulating discussions, for the sleepless nights we spent together before deadlines, and for all the fun we have had. I also thank the College of Music, Society for Musicology, and Congress for Graduate Students for their organizational structure, which provided all I needed to grow not only as an intellectual but as a person. Last but not least, I would like to thank my family: my parents, my brothers, my sister, and my extended family for supporting me emotionally, spiritually, and intellectually throughout the writing of this thesis. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract ......................................................................................................................................... vii 1. INTRODUCTION ......................................................................................................................1 2. TERRITORIOS .........................................................................................................................15 3. LA PAZ SOUDSCAPE ............................................................................................................38 4. CAPITAL ...................................................................................................................................58 5. HABITUS ..................................................................................................................................78 6. FREESTYING ...........................................................................................................................99 APPENDICES .............................................................................................................................111 A. ORAL SOURCES ...................................................................................................................111 B. INTERVIEW QUESTIONS ...................................................................................................114 C. IRB ..........................................................................................................................................116 References ....................................................................................................................................118 Biographical Sketch .....................................................................................................................122 v LIST OF FIGURES 1 Location of La Paz, Bolivia .....................................................................................................10 2 La Paz inside the mountains of the Andes ..............................................................................15 3 Illimani from el Teleférico. Photograph by Vivianne Asturizaga July 2017 ...........................17 4 Choir, sikus and dance. Photograph by Vivianne Asturizaga, July 2017 ................................22 5 OSNB in concert. Photograph by Vivianne Asturizaga, August 2017 ....................................34 6 Zebra helping in downtown. Photograph by Vivianne Asturizaga, July 2017 .......................40 7 Dogs walking around the city. Photograph by Vivianne Asturizaga, July 2017 .....................43 8 The city of La Paz at night. Photograph by Vivianne Asturizaga, July 2017 ..........................45 9 Guitarreada. Photograph by Vivianne Asturizaga, July 2017..................................................52 10 Opera “El Compadre”. Photograph by Vivianne Asturizaga, July 2016 .................................56 11 View from Sopocachi. Photograph by Vivianne Asturizaga, July 2017 .................................57 12 Musicians playing. Photograph by Vivianne Asturizaga, July 2017 .......................................57 13 CPM Library. Photograph by Vivianne Asturizaga, August 2017 ..........................................82 14 La Paz form North to South. Photograph by Vivianne Asturizaga, July 2017 .........................98 vi ABSTRACT This thesis is about musicians in the city of La Paz, Bolivia, and how they pursue professional careers through the performance of a diverse range of musics in a wide range of settings. The subjects of this research are mostly classically trained, highly accomplished performers, and many hold positions in Bolivia’s National Symphony Orchestra or at the National Conservatory. Many of them also perform in a wide variety of other musical contexts, including as members of jazz, cumbia, folkloric, and popular music groups. Additionally, many also work in other jobs to make a living. My primary research question was to ask why classical musicians in La Paz perform such a wide diversity of musical genres and styles compared to their counterparts in, for example, the United States, as well as why they situate themselves in multiple roles within the local music industry and other industries. I hypothesize that the answer to this question has different scenarios: first, that their career choices are also primarily driven by necessity, since it is virtually impossible to make one’s livelihood in Bolivia by playing classical music exclusively; second, that their musical plurality is in part a product of the fact that these musicians also enjoy performing in many different styles, settings, and roles; third, that the musicians’ lifestyle is a product of a system that has long been in place and is now ingrained and coherent as a modus operandi of musicians in La Paz; and finally, that through acting in different musical roles and contexts, musicians in La Paz intentionally embody and perform a type of musical identity that is uniquely syncretic, neither Western nor Andean but rather a product of encounter and dialogue between these and the other nodes of musical personhood of which they are comprised. Keywords: classically trained musician, artistry, identity, work, education vii CHAPTER 1 INTRODUCTION “The ‘unconscious’ is never anything other than the forgetting of history which history itself produces by incorporating the objective structures it produces in the second natures of habitus.”1 I: I studied at the National Conservatory of Music in La Paz, Bolivia and even though all the music I studied is from the Western musical traditions, I have also gotten gigs in salsa, jazz, tango, classical Indian music, Irish music, Bolivian folklore, as well as some projects that combine these styles, what is called classical, tropical, folklore, world, and modern music. V: Can you define your musical identity? I: I do not think I have a specific style of music I can identify with. I have studied to perform “classical music” and I have dedicated more time to Baroque, Classical, and Romantic styles of music for the symphonic orchestra repertoire,