Flutes, Festivities, and Fragmented Tradition: a Study of the Meaning of Music in Otavalo
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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Specific Features of a Closed-End Pipe Blown by a Turbulent Jet: Aeroacoustics of the Panpipes
PONTIFICIA UNIVERSIDAD CATOLICA DE CHILE SCHOOL OF ENGINEERING SPECIFIC FEATURES OF A CLOSED-END PIPE BLOWN BY A TURBULENT JET: AEROACOUSTICS OF THE PANPIPES FELIPE IGNACIO MENESES DÍAZ Thesis submitted to the Office of Research and Graduate Studies in partial fulfillment of the requirements for the degree of Master of Science in Engineering Advisors: MIGUEL RÍOS O. PATRICIO DE LA CUADRA B. Santiago de Chile, September of 2015 c MMXV, FELIPE IGNACIO MENESES DÍAZ PONTIFICIA UNIVERSIDAD CATOLICA DE CHILE SCHOOL OF ENGINEERING SPECIFIC FEATURES OF A CLOSED-END PIPE BLOWN BY A TURBULENT JET: AEROACOUSTICS OF THE PANPIPES FELIPE IGNACIO MENESES DÍAZ Members of the Committee: MIGUEL RÍOS O. PATRICIO DE LA CUADRA B. DOMINGO MERY Q. SEBASTIÁN FINGERHUTH M. ÁLVARO SOTO A. Thesis submitted to the Office of Research and Graduate Studies in partial fulfillment of the requirements for the degree of Master of Science in Engineering Santiago de Chile, September of 2015 c MMXV, FELIPE IGNACIO MENESES DÍAZ Gracias a mi familia, mis amigos, mis colegas y mis mentores. ACKNOWLEDGEMENTS I would like to give special thanks to my advisor Patricio de la Cuadra for his guidance and support, and for continuously sharing his experience and knowledge. I also wish to thank Benoit Fabre and Roman Auvray from the Laboratoire d’acoustique musicale (LAM) of the Jean le Rond d’Alembert Institute (UPMC) of the University of Paris VI, for their hospitality and their wise and helpful advice, and for a great teamwork experience. From the Centro de Investigación de Tecnologías de Audio (CITA) of the Institute of Music of the Pontificia Universidad Católica de Chile, I am especially grateful to Rodrigo Cádiz, Benjamín Carriquiry, and Paul Magron, for making this experience rich and for their kind help. -
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
2018 Available in Carbon Fibre
NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished -
The Global Charango
The Global Charango by Heather Horak A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2020 Heather Horak i Abstract Has the charango, a folkloric instrument deeply rooted in South American contexts, “gone global”? If so, how has this impacted its music and meaning? The charango, a small and iconic guitar-like chordophone from Andes mountains areas, has circulated far beyond these homelands in the last fifty to seventy years. Yet it remains primarily tied to traditional and folkloric musics, despite its dispersion into new contexts. An important driver has been the international flow of pan-Andean music that had formative hubs in Central and Western Europe through transnational cosmopolitan processes in the 1970s and 1980s. Through ethnographies of twenty-eight diverse subjects living in European fields (in Austria, France, Belgium, Germany, Spain, Portugal, Switzerland, Croatia, and Iceland) I examine the dynamic intersections of the instrument in the contemporary musical and cultural lives of these Latin American and European players. Through their stories, I draw out the shifting discourses and projections of meaning that the charango has been given over time, including its real and imagined associations with indigineity from various positions. Initial chapters tie together relevant historical developments, discourses (including the “origins” debate) and vernacular associations as an informative backdrop to the collected ethnographies, which expose the fluidity of the instrument’s meaning that has been determined primarily by human proponents and their social (and political) processes. -
Musical Origins and the Stone Age Evolution of Flutes
Musical Origins and the Stone Age Evolution of Flutes When we, modern humans, emerged from Africa and colonized Europe Jelle Atema 45,000 years ago, did we have flutes in fist and melodies in mind? Email: [email protected] Introduction Music is an intensely emotional subject and the origins of music have fascinated Postal: people for millennia, going back to early historic records. An excellent review can Boston University be found in “Dolmetsch Online” (http://www.dolmetsch.com/musictheory35. Biology Department htm). Intense debates in the late 19th and early 20th century revolved around the 5 Cummington Street origins of speech and music and which came first. Biologist Charles Darwin, befit- Boston, MA 02215 ting his important recognition of evolution by sexual selection, considered that music evolved as a courtship display similar to bird song; he also felt that speech derived from music. Musicologist Spencer posited that music derived from the emotional content of human speech. The Darwin–Spencer debate (Kivy, 1959) continues unresolved. During the same period the eminent physicist Helmholtz- following Aristotle-studied harmonics of sound and felt that music distinguished itself from speech by its “fixed degree in the scale” (Scala = stairs, i.e. discrete steps) as opposed to the sliding pitches (“glissando”) typical of human speech. As we will see, this may not be such a good distinction when analyzing very early musi- cal instruments with our contemporary bias toward scales. More recent symposia include “The origins of music” (Wallin et al., 2000) and “The music of nature and the nature of music” (Gray et al., 2001). -
HISPANIC MUSIC for BEGINNERS Terminology Hispanic Culture
HISPANIC MUSIC FOR BEGINNERS PETER KOLAR, World Library Publications Terminology Spanish vs. Hispanic; Latino, Latin-American, Spanish-speaking (El) español, (los) españoles, hispanos, latinos, latinoamericanos, habla-español, habla-hispana Hispanic culture • A melding of Spanish culture (from Spain) with that of the native Indian (maya, inca, aztec) Religion and faith • popular religiosity: día de los muertos (day of the dead), santería, being a guadalupano/a • “faith” as expession of nationalistic and cultural pride in addition to spirituality Diversity within Hispanic cultures Many regional, national, and cultural differences • Mexican (Southern, central, Northern, Eastern coastal) • Central America and South America — influence of Spanish, Portuguese • Caribbean — influence of African, Spanish, and indigenous cultures • Foods — as varied as the cultures and regions Spanish Language Basics • a, e, i, o, u — all pure vowels (pronounced ah, aey, ee, oh, oo) • single “r” vs. rolled “rr” (single r is pronouced like a d; double r = rolled) • “g” as “h” except before “u” • “v” pronounced as “b” (b like “burro” and v like “victor”) • “ll” and “y” as “j” (e.g. “yo” = “jo”) • the silent “h” • Elisions (spoken and sung) of vowels (e.g. Gloria a Dios, Padre Nuestro que estás, mi hijo) • Dipthongs pronounced as single syllables (e.g. Dios, Diego, comunión, eucaristía, tienda) • ch, ll, and rr considered one letter • Assigned gender to each noun • Stress: on first syllable in 2-syllable words (except if ending in “r,” “l,” or “d”) • Stress: on penultimate syllable in 3 or more syllables (except if ending in “r,” “l,” or “d”) Any word which doesn’t follow these stress rules carries an accent mark — é, á, í, ó, étc. -
Explorer's Guide Peruvian Music
EXPLORER’S GUIDE PERUVIAN MUSIC A shaman plays a flute alongside Amazonian Peru’s Boiling River. Facing the 1 2 3 4 Music in Hidden Workshop Andes Anthems Dinner and a Show Electric Inca Inside a storefront sign- Traditional Andean What originated as leftist, Follow up the show with Cusco posted simply “Luthier,” music isn’t something you anti-dictatorship music drinks and dancing at this expertly made Andean stumble across—it has to in the 1960s and ’70s has local staple for Andean While living among the instruments lie scattered be sought out. Wissler sug- morphed into Andean rock. Ukukus has live shows Q’eros, an indigenous around their maker. Sabino gests contacting Santos folk, supported by guitar, daily, while Sundays are Andean group in south- Huamán, a third-generation Machacca Apaza, a Q’ero, charango, various flutes, headlined by Amaru Puma east Peru, Holly Wissler stringed instrument crafts- to sit in on an offering to and drums. “People love it,” Kuntur, a band named for was immersed in their man, will demonstrate how apus (mountain gods) and says Wissler of the haunt- the three cosmic figures native music. Now based to play each charango, Pachamama (Mother Earth) ing melodies, which are of the Inca Empire (snake, in Cusco, the ethno- bandurria, guitar, and at his family’s home, 20 best enjoyed over dinner at puma, and condor). Here, musicologist and Nat quena flute. Ask to see his minutes outside Cusco. any number of restaurants folk music goes electric, Geo Expeditions expert workshop upstairs, says Request music up front so in Cusco, including the with hand pipes and quena outlines where to find Wissler—and even if you that his mother is around just opened Ayasqa, which flutes getting the rock- the best local beats. -
In Ecuador, Will Mining Firms Win in Long Run? Luis ÃNgel Saavedra
University of New Mexico UNM Digital Repository NotiSur Latin America Digital Beat (LADB) 12-5-2014 In Ecuador, Will Mining Firms Win in Long Run? Luis Ãngel Saavedra Follow this and additional works at: https://digitalrepository.unm.edu/notisur Recommended Citation Ãngel Saavedra, Luis. "In Ecuador, Will Mining Firms Win in Long Run?." (2014). https://digitalrepository.unm.edu/notisur/ 14293 This Article is brought to you for free and open access by the Latin America Digital Beat (LADB) at UNM Digital Repository. It has been accepted for inclusion in NotiSur by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. LADB Article Id: 79495 ISSN: 1060-4189 In Ecuador, Will Mining Firms Win in Long Run? by Luis Ángel Saavedra Category/Department: Ecuador Published: 2014-12-05 Intag, a group of several communities in Ecuador’s Imbabura province, had been seen as an enduring example of resistance to the mining industry. But its history could end up being repeated in other communities where mineral companies are granted concessions and then harassment, lawsuits against leaders, forced land sales, displacement, and other actions by government and corporations discourage the local population, weakening how people organize and struggle. Today, after 20 years of struggle, Intag is fragmented and unable to sustain its long-standing determination to defend its territories (NotiSur, March 14, 2014). History of resistance Approximately 17,000 people live in the Intag communities in the southwestern part of Cotacachi canton in Imbabura province, an area of cloud-covered forests and farms in the Andean highlands of northwestern Ecuador. -
Andean Music, the Left and Pan-Americanism: the Early History
Andean Music, the Left, and Pan-Latin Americanism: The Early History1 Fernando Rios (University of Illinois, Urbana-Champaign) In late 1967, future Nueva Canción (“New Song”) superstars Quilapayún debuted in Paris amid news of Che Guevara’s capture in Bolivia. The ensemble arrived in France with little fanfare. Quilapayún was not well-known at this time in Europe or even back home in Chile, but nonetheless the ensemble enjoyed a favorable reception in the French capital. Remembering their Paris debut, Quilapayún member Carrasco Pirard noted that “Latin American folklore was already well-known among French [university] students” by 1967 and that “our synthesis of kena and revolution had much success among our French friends who shared our political aspirations, wore beards, admired the Cuban Revolution and plotted against international capitalism” (Carrasco Pirard 1988: 124-125, my emphases). Six years later, General Augusto Pinochet’s bloody military coup marked the beginning of Quilapayún’s fifteen-year European exile along with that of fellow Nueva Canción exponents Inti-Illimani. With a pan-Latin Americanist repertory that prominently featured Andean genres and instruments, Quilapayún and Inti-Illimani were ever-present headliners at Leftist and anti-imperialist solidarity events worldwide throughout the 1970s and 1980s. Consequently both Chilean ensembles played an important role in the transnational diffusion of Andean folkloric music and contributed to its widespread association with Leftist politics. But, as Carrasco Pirard’s comment suggests, Andean folkloric music was popular in Europe before Pinochet’s coup exiled Quilapayún and Inti-Illimani in 1973, and by this time Andean music was already associated with the Left in the Old World. -
Prek–12 EDUCATOR RESOURCES QUICK GUIDE
PreK–12 EDUCATOR RESOURCES QUICK GUIDE MUSICAL INSTRUMENT MUSEUM BRING THE WORLD OF MUSIC TO THE CLASSROOM MIM’s Educator Resources are meant to deepen and extend the learning that takes place on a field trip to the museum. Prekindergarten through 12th-grade educators can maximize their learning objectives with the following resources: • Downloadable hands-on activities and lesson plans • Digital tool kits with video clips and photos • Background links, articles, and information for educators • Free professional development sessions at MIM Each interdisciplinary tool kit focuses on a gallery, display, musical instrument, musical style, or cultural group—all found at MIM: the most extraordinary museum you’ll ever experience! RESOURCES ARE STANDARDS-BASED: Arizona K–12 Academic Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education Arizona Early Learning Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education EXPLORE MIM’S EDUCATOR RESOURCES ONLINE: • Schedule a field trip to MIM • Download prekindergarten through 12th-grade tool kits • Register for free professional development at MIM MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ 85050 (Corner of Tatum & Mayo Blvds., just south of Loop 101) SOUNDS ALL AROUND Designed by MIM Education MUSICAL INSTRUMENT MUSEUM SUMMARY Tool Kits I–III feature activities inspired by MIM’s collections and Geographic Galleries as well as culturally diverse musical selections. They are meant to extend and -
Moving Away from Silence: Music of the Peruvian Altiplano and the Experiment of Urban Migration / Thomas Turino
MOVING AWAY FROM SILENCE CHICAGO STUDIES IN ETHNOMUSICOLOGY edited by Philip V. Bohlman and Bruno Nettl EDITORIAL BOARD Margaret J. Kartomi Hiromi Lorraine Sakata Anthony Seeger Kay Kaufman Shelemay Bonnie c. Wade Thomas Turino MOVING AWAY FROM SILENCE Music of the Peruvian Altiplano and the Experience of Urban Migration THE UNIVERSITY OF CHICAGO PRESS Chicago & London THOMAS TURlNo is associate professor of music at the University of Ulinois, Urbana. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1993 by The University of Chicago All rights reserved. Published 1993 Printed in the United States ofAmerica 02 01 00 99 98 97 96 95 94 93 1 2 3 4 5 6 ISBN (cloth): 0-226-81699-0 ISBN (paper): 0-226-81700-8 Library of Congress Cataloging-in-Publication Data Turino, Thomas. Moving away from silence: music of the Peruvian Altiplano and the experiment of urban migration / Thomas Turino. p. cm. - (Chicago studies in ethnomusicology) Discography: p. Includes bibliographical references and index. I. Folk music-Peru-Conirna (District)-History and criticism. 2. Folk music-Peru-Lirna-History and criticism. 3. Rural-urban migration-Peru. I. Title. II. Series. ML3575.P4T87 1993 761.62'688508536 dc20 92-26935 CIP MN @) The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI 239.48-1984. For Elisabeth CONTENTS List of Illustrations ix Acknowledgments xi Introduction: From Conima to Lima