Colombian Folk Music in an International Context An Overview Andrés Ramón Iceland Academy of the Arts Department of Music Musical Composition Colombian Folk Music in an International Context An Overview A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS IN MUSICAL COMPOSITION at the ICELAND ACADEMY OF THE ARTS Andrés Ramón Supervisor: Guðrún Ingimundardóttir, Ph.D. Reykjavík, May 2010 ABSTRACT The following dissertation offers an overview of a wide range of musical styles found within Colombia's folk music tradition. It opens by presenting the international, historical and cultural context of the evolution of South American folk music as a whole, placing particular emphasis on the tri-ethnic nature that characterises this sub-continent's folk music expressions. The interplay of the different elements pertaining to the native Amerindian, Spanish (European) and African cultures is given particular attention. The thesis proceeds with an analysis of the geographical, historical, demographic and cultural factors that have moulded the development of the plethora of musical styles found in Colombia. A substantial although not exhaustive list of musical styles is then presented according to the geographical regions where they are produced. For each of the geographical regions in which Colombia is divided, a selection of the most representative and widespread styles is then presented in order to offer a deeper analysis of their musical traits. Of the more than one hundred folk musical styles found in Colombia, fifty of them are given a particular analysis in which their instrumental, rhythmical, harmonic and on certain occasions melodic components are presented in more detail. Their ethnic constituents, that is to say, the elements originating from the native Amerindian, Spanish and black African cultures that characterise the various musical manifestations of the country's regions, are also identified. Colombian Folk Music In an International Context - An Overview - TABLE OF CONTENTS FOREWORD .................................................................................................................................... 4 1. SOUTH AMERICAN FOLK MUSIC ................................................................................................ 7 HISTORICAL AND CULTURAL OVERVIEW ................................................................................... 7 1.1. The Confluence of Historical and Cultural Forces ................................................................ 7 1.2. Ethnical and Cultural Diversity. ............................................................................................ 9 1.2.1. Native South American Inhabitants: The Amerindian Indigenous Element. .............. 9 Musical Tradition of the Andean Amerindians. ...................................................... 101 1.2.2. The Spanish Conquista and Colonisation - The European Element. ......................... 13 1.2.3. The African Element. ............................................................................................... 15 Musical instruments brought from Africa. ................................................................ 16 1.3. Independent Life and New Immigrations. ........................................................................... 17 1.4. Musical Expressions and Ethnic Strata. ............................................................................... 17 1.4.1. Tri-Ethnic Cultural Diversity. ................................................................................... 17 1.4.2. Styles of South American Folk Music. ..................................................................... 19 VARIETY OF FOLK MUSICAL STYLES IN SOUTH AMERICAN COUNTRIES (TABLE) ............... 20 1.4.3. Social Context. ......................................................................................................... 22 2. COLOMBIAN FOLK MUSIC ....................................................................................................... 23 2.1. Colombia: Historical and Cultural Context. ....................................................................... 23 2.2. Colombia: Geographical-Cultural Regions ......................................................................... 25 2.3. Colombian Folk Music: Regional Framework and General Traits. ..................................... 31 CLASSIFICATION AND DISTRIBUTION OF COLOMBIAN FOLK MUSICAL STYLES (1) ................ 33 CLASSIFICATION AND DISTRIBUTION OF COLOMBIAN FOLK MUSICAL STYLES (2) ................ 34 3. MUSIC FROM THE ATLANTIC REGION ...................................................................................... 37 3.1. Geographical Aspects .......................................................................................................... 37 3.2. Historical Aspects ............................................................................................................... 38 3.3. General Musical Aspects ..................................................................................................... 40 3.4. Instrumentation. .................................................................................................................. 43 3.4.1. Wind Instruments. .................................................................................................... 43 a-c. Gaitas: Gaita Hembra, Gaita Macho, Gaita Corta, Conjunto de Gaitas. ................ 43 d. Flauta or Caña de millo. ............................................................................................. 47 3.4.2. Percussion Instruments. ............................................................................................ 48 a. Alegre and Llamador. .................................................................................................. 48 b. Tambora. ..................................................................................................................... 50 c. Maracón or Maraca costeña. ....................................................................................... 51 d. Guacho (Guache) and Guasá. ..................................................................................... 52 e. Guacharaca, Güiro and Güira. .................................................................................... 52 3.5. Musical Analysis: Rhythmic Forms. .................................................................................. 53 3.5.1. Cumbia. ................................................................................................................ 53 3.5.2. Gaita or Gaita Corrida. ........................................................................................ 57 3.5.3. Porro. ................................................................................................................... 57 3.5.4. Bullerengue. ......................................................................................................... 58 3.5.5. Puya lenta & Puya rápida. ................................................................................... 59 3.5.6. Chandé. ................................................................................................................ 60 3.5.7. Tambora. .............................................................................................................. 61 3.5.8. Son de negro. ........................................................................................................ 61 3.5.9. Chalupa. ............................................................................................................... 62 3.5.10. Canto de Zafra. ................................................................................................... 62 3.6. Melodic and Harmonic Considerations. .............................................................................. 63 4. MUSIC FROM THE PACIFIC REGION .......................................................................................... 65 4.1. Geographical Aspects ......................................................................................................... 65 4.2. Historical Aspects ............................................................................................................... 66 4.3. General Musical Aspects ..................................................................................................... 68 4.4. Instrumentation. .................................................................................................................. 70 4.4.1. Bombo or tambora. ................................................................................................... 70 4.4.2. Cununo. .................................................................................................................... 71 4.4.3. Guasá. ...................................................................................................................... 71 4.4.4. Marimba. .................................................................................................................. 72 4.4.5. Singers. ..................................................................................................................... 73 4.5. Musical Analysis: Southern Pacific Forms and Genres. ..................................................... 74 4.5.1. Secular Music. .......................................................................................................... 74 a. Currulao. ................................................................................................................