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Flower World 2013 Stobart Flower World - Mundo Florido, vol. 2 vol. - Mundo Florido, World Flower Flower World - Mundo Florido Flower World Oh flowers we take, Music Archaeology of the Americas oh songs we chant, Mundo Florido we enter the Reign of Mystery! Arqueomusicología de las Américas A least for one day we are together, my friends! We ought to leave our flowers, We must leave our songs vol. 2 and go while the earth lasts forever! My friends, enjoy; let’s celebrate, friends! Edited by / Editado por Aztec song Matthias Stöckli & Arnd Adje Both Cantares Mexicanos fol. 35v., lin. 16-20 !Oh flores que portamos, oh cantos que llevamos, nos vamos al Reino del Misterio! ¡Al menos por un día estemos juntos, amigos míos! ¡Debemos dejar nuestras flores, tenemos que dejar nuestros cantos y con toda la tierra seguirá permanente! ¡Amigos míos, gocemos; gocémonos, amigos! Canto azteca Both (eds.) Stöckli & Arnd Adje Matthias Cantares Mexicanos fol. 35v., lin. 16-20 9 783944 415147 Flower World Music Archaeology of the Americas Mundo Florido Arqueomusicología de las Américas General Editor / Editor general Arnd Adje Both Flower World Music Archaeology of the Americas Mundo Florido Arqueomusicología de las Américas vol. 2 Edited by / Editado por Matthias Stöckli & Arnd Adje Both Matthias Stöckli & Arnd Adje Both (eds.) Flower World: Music Archaeology of the Americas, vol. 2 / Mundo Florido: Arqueomusicología de las Américas, vol. 2 Berlin / Berlín: Ekho Verlag, 2013 200 pages with 117 illustrations / 200 páginas con 117 ilustraciones ISSN 2195-7665 / ISBN 978-3-944415-00-0 (series / serie) ISBN 978-3-944415-14-7 (hardcover / tapa dura, vol. 2) General Editor / Editor General: Arnd Adje Both Layout and Typography / Diseño y tipografía: Ingo Stahl-Blood Logo / Logotipo: Claudia Zeißig Printed / Imprimido: H. Heenemann, Berlin Ekho Verlag Dr. Arnd Adje Both, Berlin / Berlín [email protected] www.ekho-verlag.com All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the Ekho Verlag. Todos los derechos reservados. Queda prohibida la reproducción total o parcial de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento informático, la fotocopia o la grabación, sin la previa autorización por escrito del Ekho Verlag. © 2013 Ekho Verlag Flower World - Mundo Florido, vol. 2 7 Contents / Contenido Preface / Prefacio 9 Matthias Stöckli & Arnd Adje Both Staging Sound: Acoustic Reflections on Inca Music, 11 Architecture and Performance Spaces Henry Stobart Unveiling the Secrets of Ancient Nasca Whistles 37 Anna Gruszczykska-Zió ckowska El Señor de las Antaras: Música y fertilidad en la iconografía nasca 51 Daniela La Chioma Silvestre Villalva The Death of the mojas: Human Sacrifices, Song and Ritual 71 in the Nuevo Reino de Granada (Central Colombia), 1563 Egberto Bermúdez Winds of Change: Ceramic Musical Instruments from Greater Nicoya 99 Carrie L. Dennett and Katrina C. Kosyk Las flautas poli-globulares de Mesoamérica 121 Vanessa Rodens, Arnd Adje Both y Gonzalo Sánchez Santiago The Voladores Dance: Traces of the Past 159 for the Interpretation of the Present Grazia Tuzi Origin and Meaning of the Hopewell Panpipe 177 Mark Howell The Contributors / Los contribuidores 195 Flower World - Music Archaeology of the Americas, vol. 2 11 Staging Sound Acoustic Reflections on Inca Music, Architecture and Performance Spaces* Henry Stobart This study explores connections between Inca musical performance practices and acoustic spac- es. Drawing on historical sources, and informed by contemporary ethnographic perspectives, it considers a variety of Inca performance contexts. As a starting point it examines the large ushnu platforms that were built by the Incas in several parts of the empire, arguing that rather than acting as “stages” for musical performance per se, such monuments probably served as im- portant foci for ceremonial activity, involving participatory music and dance. The existence of outside and inside music making is then considered, with various examples examined to raise questions about how Inca musical sonorities were adapted to particular acoustic environments. In turn, it is speculated whether the Incas developed an elite chamber music culture – adapted to resonant interior spaces – comparable to that of, for example, medieval Europe. El presente estudio investiga las relaciones entre las prácticas musicales inca y los espacios acús- ticos en los que éstas solían realizarse. Basándose en fuentes históricas y aplicando perspecti- vas etnográficas contemporáneas el estudio cubre una variedad de contextos musicales. Como punto de partida sirven las grandes plataformas ushnu, construidas por los inca en varias par- tes de su imperio, al respecto de las cuales se argumenta que más que “escenarios” para la eje- cución musical en sí tales monumentos representaban probablemente centros importantes para la realización de ceremonias, incluyendo prácticas musicales y danzarias de carácter comunita- rio. Luego se toma en consideración la existencia de actividades musicales llevadas a cabo tan- to fuera como dentro de espacios cerrados. A partir de diversos ejemplos se plantean pregun- tas acerca de cómo las sonoridades musicales inca se adaptaron a ambientes acústicos particu- lares. También se pone a especular si los inca hayan desarrollado una cultura élite de música de cámara – adaptada a espacios cerrados resonantes – comparable, por ejemplo, a la de la Europa medieval. It is hard to believe that the Incas would have erment and even transcendence, as the sound of been indifferent to the sonic implications of res- his or her voice or instrument is reinforced, in- onant spaces. As music makers the world over tensified and offered additional timbral and ex- are aware, reverberant spaces and reflective sur- pressive affordances. Yet, while reverberation faces amplify and extend the life of sounds and can, in some contexts, be intensely appreciated increase the distances over which they can be and critical to the transmission and aesthetics of transmitted. For the performer, resonance can music, in others it may disrupt, distort and de- often provide a sense of effortlessness, empow- lay the communication of sound, leading listen- * This paper was originally written for and appears in the volume Inca Sacred Space: Land- scape, Site and Symbol in the Andes (Frank Meddens, Katie Willis, Colin McEwan, and Nicholas Branch, eds.). London: Archetype (forthc.). The author is grateful to the editors and to Archetype for permission to publish a revised version in the current volume. 12 Henry Stobart ers to feel overwhelmed, confused, or disturbed seeking out (or assuming) acoustic intentionali- by the resulting noise. Similarly, excessive rever- ty in architectural planning or the construction beration can impair the effective communication of other performance spaces. Nonetheless, I do of speech, or clarity of articulation in music. In not entirely rule out the possibility that acous- short, we are highly sensitive to acoustic space tics may sometimes have been taken into consid- and our forms of sonic expression tend to adapt eration in Inca building design; after all, acous- or develop, more or less consciously, in relation tic intentionality was undoubtedly fundamental to the properties of particular spaces. to musical instrument design and construction. We sometimes appreciate or select a particu- The thorny problem of “acoustic intentionality” lar space for its acoustic properties, and acous- loomed large in several chapters in Scarre and ticians may even design spaces, such as concert Lawson’s pioneering volume Archaeoacoustics halls or theatres, with particular acoustic prop- (2006), as for example in Aaron Watson’s essay erties in mind. However, from a more historical “(Un)intentional Sound?”. Here, he observes that perspective, musical styles and practices can of- “archaeology may be constraining its scope for ten be seen to have adapted to spaces which were interpretation by insisting that the intentions un- not originally constructed or selected with acous- derlying the use of a place or artifact have to be tic properties in mind. For example, Blesser and empirically demonstrated” (Watson 2006: 20).1 Salter (2007: 90) suggest that the high acoustic re- Although the historical and material evidence of verberation characteristic of many early Europe- Inca musical practices are comparatively rich, es- an cathedrals and churches was an unintentional pecially compared to the Neolithic examples dis- consequence of a range of religious, philosophi- cussed by Watson, fundamental questions none- cal and social forces. Church walls were initially theless remain about how Inca music sound- built for protection against weather, to provide ed and related to the acoustic spaces in which it a separate space, and to assert political power, was performed. Yet, despite these limitations in rather than with acoustics in mind (ibid.). Sim- evidence, one aim of this essay is to encourage ilarly, the hard, acoustically reflective surfaces scholars to consider the impact of acoustic space provided by the cut stone walls of such buildings on pre-Hispanic musical performance practices. were simply a by-product of developments in To date, research into the music of pre-Hispan- building technology and the desire for durability. ic Andean or Peruvian coastal cultures has tend- Yet,
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