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Revista De Temas Nicaragüenses Febrero 2010 No. 22 RRREEEVVVIIISSSTTTAAA DDDEEE TTTEEEMMMAAASSS NNNIIICCCAAARRRAAAGGGÜÜÜEEENNNSSSEEESSS dedicada a la investigación sobre Nicaragua Ocarina del período Guinea Inciso, rango de fechas de 300 a. C. a 500 d. C., caracte- rizado por diseños incisos lineales sobre la superficie pulida; superficie brillante fina en co- lores que van de anaranjado claro a anaranjado rojizo, y de café a negro. Se encuentra en la fase San Roque en el istmo de Rivas, en la cordillera de Guanacaste, península de Santa Elena, bahía de Culebra, bahía de Tamarindo, y valle de Tempisque. Crédito por la foto: Costa Rican and Central American Pre-Columbian Ceramic Pottery, The Costa Rican Ceramic Exhibit. El origen de las ocarinas se encuentra en muchas culturas diferentes. Las más antiguas dtaan de 12,000 años atrás. Los incas, los mayas, los aztecas y otros pueblos mesoamericanos desarrollaron y ejecutaban música en ocarinas de arcilla en forma de aves o de animales. También en la India se encuentran ocarinas en forma de aves y animales datadas como 5000 a. C. China también tenía un instrumento llamado Xun que es una ocarina en forma ovoide. Por el rango de fechas, la ocarina de nuestra portada es anterior a las migraciones mesoame- ricanas conocidas de chorotegas, maribios y nicaraos. Quizás corresponda a los primeros pobladores de lo que hoy se conoce como Gran Nicoya. Cuando Don José María Gutiérrez Arancibia, el telegrafista de Nindirí que fundó el museo en 1910, estaba vivo, tuve la oportunidad de escucharle tocar una de las ocarinas que conservaba en su museo. En el mercado, se vendían pitos en forma de paloma, hechas de barro que comprabamos como juguetes. Las ocarinas quedaron así grabadas en mi memoria juvenil para siempre, lo cual ex- plica en parte esta portada de ocarina. La otra parte se explica por la gran importancia que tuvieron las ocarinas en la cultura mesoamericana. Tanto mayas como aztecas tenían sus versiones de ocari- nas, pero fueron los artefactos aztecas los que se hicie- ron populares en Europa como un juguete. La ocarina tiene una cavidad de forma ovoidea con varios agujeros para los dedos, que típicamente suelen ser de 4, pero en algunas culturas llegan a ser hasta 12; además tiene una proyección o tubo de la boca que sirve para soplar aire. El aire entra por el tu- bo de la boca y vibra al pasar por la lengüeta o las irre- gularidades del tubo, y resuena en la cavidad. Los agu- jeros modifican el sonido según se tapan con los de- dos. El sonido se produce por resonancia. La ocarina trabaja con el mismo principio de resonancia que produce sonidos cuando soplamos so- bre el pico de una botella. En contraste, la flauta pro- Ocarina en forma de lora, encontrada duce las notas al variar el largo del tubo. Por eso los en Guanacaste, Costa Rica; la ocarina agujeros están dispuestos a todo lo largo de la flauta. data del año 1000-1500 d. C. La ocarina funciona como un resonador de Helm- holtz. La frecuencia del sonido producido, expresado matemáticamente, es proporcional la raíz cuadrada del cociente que tiene por numerador el diámetro del agujero, y por denominador el volu- men de la cavidad. Si la ocarina tiene dos agujeros abiertos, en el numerador se coloca la suma de los dos diámetros de los agujeros. Por ejemplo, una ocarina que tiene un volumen de la cavidad de 36 cm3 y un agujero de 0.65 cm, la frecuencia del sonido sería proporcional a √(0.65/36) = 0.1344 Si estuvieran abiertos dos agujeros del mismo diámetro, la frecuencia sería proporcional a √ [(0.65+0.65)/36] = 0.1900 Los tonos que el oído escucha son do, mi, sol, la si al ir variando el número de agujeros abier- tos. La posición de los agujeros no influye en el sonido producido, sólo el número de agujeros abier- tos. Cuando se cesa de soplar, el aire dentro de la cavidad es expulsado, pero tiende a sobre compen- sar creando un pequeño vacío que hace entrar el aire de nuevo, para ser expulsado otra vez con una presión menor. Este proceso de expulsiones y succiones sucesivas se va amortiguando a si mismo hasta desaparecer. Charles Kasson Mead, un empleado de la oficina de patentes de los EEUU., publicó un artí- culo titulado Contributions to the history of musical scales1, de donde hemos tomado algunos conceptos sobre las ocarinas, más la gráfica y explicaciones que siguen. Para usar la gráfica hay que localizar en el eje horizontal el radio de los agujeros para los dedos, asu- miendo el valor de 1 para el agujero de soplado (el de la boca). En el valor del radio se levanta una per- pendicular (línea punteada en el ejemplo). Los puntos de intersec- ción con las curvas, medidos en la escala de la izquierda, da el tono de las notas sucesivas cuando los aguje- ros 1, 2, 3, etc. se destapan. La gráfi- ca muestra claramente que los suce- sivos intervalos de las notas se redu- cen a medida que se abren más agu- jeros. Aquellos que deseen escu- char el sonido de una ocarina azteca, pueden visitar Aztecs Mexicolore: Tienen una melodía para la ocarina en forma de ave (Bird-shaped ocari- na) y otra para la ocarina en forma de rana de cuernos grandes (Long horned toad-shaped ocarina). Para escuchar la música, necesitan instalar Apple QuickTime Player que es una aplicación gratis. 1 Publicado en el Report of the United States National Museum for 1900, páginas 417-462, Washington: Government Printing Office, 1902 Febrero 2010 No. 22 RRREEEVVVIIISSSTTTAAA DDDEEE TTTEEEMMMAAASSS NNNIIICCCAAARRRAAAGGGÜÜÜEEENNNSSSEEESSS dedicada a la investigación sobre Nicaragua Editor: José Mejía Lacayo [email protected] Sitio Web: www.temasnicas.net Correo: [email protected] © Febrero 2010. Los derechos de autor son propiedad del autor o editor original en su caso. Prohibida la reproducción sin autorización. No aplica a obras que se encuentren en el domi- nio público. Colaboradores de esta edición Jorge Eduardo Arellano Esteban Duque Estrada S. Blanca Estrada Cousin Carmen C. Etienne Morales de Pelham Frank Gorin Eddy Kühl Arauz Rafael Lara-Martínez Ramón Maldonado García Carlos Mántica Abaunza José Mejía Lacayo Flavio Rivera Montealegre Carlos Tünnermann Bernheim Augusto Zelaya Ubeda [Rowland W. Cater] [Fray Antonio de Cibdad Real] [M. J. Clancy] [Juan Velasquez Prieto] [Paul Wiesike] 1 Contenido A lo largo de la revista hemos creado decenas de hiperenlaces (en letras azules subraya- das) que llevarán al lector a las fuentes de los documentos citados. Estos hiperenlaces se en- cuentran tanto dentro del texto como en las notas al calce. De esta manera no solo ofrecemos los artículos originales de la revista, sino que también el acceso fácil a muchos documentos y manuscritos que se encuentran desperdigados en bibliotecas virtuales, y que tienen relación di- recta con los artículos o sus ilustraciones. La lista de colaboradores y el contenido de la revista también contiene hiperenlaces que facilitan al lector llegar al artículo que le interesa. Estos hiperenlaces no están subrayados. De Nuestros Lectores................................................................................................................4 Del Escritorio del Editor: Estadísticas mensuales, detalles interesantes............................... 10 SECCIÓN CENTENARIO Nicaragua – Febrero de 1910 por Esteban Duque Estrada S............................................ 15 El Centenario de “Poema Del Otoño” y de “Canto A La Argentina” de Rubén Darío por Carlos Tünnermann Bernheim..........................................................................................22 SEMBLANZAS El Legado Musical de Carlos Mejía Godoy por Carlos Mántica A...................................32 Olga Solari por Juan Velasquez Prieto ..............................................................................40 Febrero en la Literatura Nicaragüense por Flavio Rivera Montealegre ...........................42 ANTROPOLOGÍA Las Carretas de Jinotega por Augusto Zelaya Ubeda .......................................................48 HISTORIA Salomón de la Selva: periodista y educador en Costa Rica y Panamá por Jorge Eduardo Arellano ..............................................................................................................................58 Manuel Mejía Bárcenas, editor de libros por José Mejía Lacayo......................................74 Fray Ramón de Rojas, Obispo mercedario muerto en Metapa en 1683 por Eddy Kuhl... 81 Los intelectuales del León de antaño por Ramón Maldonado García..............................82 Una historia de la arqueología en Nicaragua por Frank Gorin ........................................ 91 RELATOS Un Crimen en El Bosque por Frederick Boyle, traducción de Carmen Etienne Morales de Pelham .........................................................................................................................121 RECURSOS NATURALES Una Plantación de Cocoteros en la Mosquitia por Rowland W. Cater........................... 133 GEOGRAFÍA La Maravilla del Siquia: El salto Mataka......................................................................... 140 Relación Breve y Verdadera de las Cosas que le Sucedieron a Fray Alonso Ponce por Fray Antonio de Ciudad Real .......................................................................................... 144 Nicaragua: Los Ferrocarriles y el Transporte en 1890..................................................... 167 Precios de carga y pasajeros en Nicaragua por M. J. Clancy.......................................... 174 2 El Ferrocarril y los Vapores de Nicaragua en Venta por Paul Wiesike .......................... 176 RICÓN CENTROAMERICANO ARMAS Y
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