Waubonsee Community College

Music in the Andes, experiencing music, expressing culture, Thomas Turino

eng

Includes bibliographical references (pages 148-149) and index

phonodiskillustrationsmapsplates

index present

non fiction

Music in the Andes

bibliography

144329492

Thomas Turino

Global music series

experiencing music, expressing culture

Music in the Andes is one of many case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. Music in the Andes is one of the first books to offer a comprehensive overview of the uniquely rich and diverse musical crossroads of southern Peru and Bolivia. In contrast with many other places--where modern styles often replace older musical traditions--in the Andes each new musical layer is added, combined, and performed along with earlier ones. This volume explores the ways in which modern styles meet and interact with older, indigenous music to create a continuously evolving musical heritage. Music in the Andes examines the major contemporary indigenous, mestizo, and urban musical traditions of the region through a series of case studies. It also describes "Andean folkloric music," a cosmopolitan tradition that is performed in subways, streets, and festivals around the world. Throughout the book, author Thomas Turino underscores the dynamic interplay between musical/cultural continuity and innovation. He also emphasizes the exceptional communicative potential of music, dance, and festivals to express ethnic, class, regional, national, and gendered identities. In addition, he considers the ethical and stylistic differences between "participatory" and "presentational" modes of making music. Drawing on Turino's extensive fieldwork in the region, Music in the Andes is enhanced by interviews with key performers, eyewitness accounts of local performances, vivid illustrations, and hands-on listening activities. It is packaged with a 70-minute CD containing examples of music discussed in the text

Foreword -- Preface -- CD track list -- 1. Indigenous wind ensembles and community -- Indigenous identity and Aymara social style -- Musical style -- Participatory music making in Conima -- Festivals in Conima -- Año Nuevo -- San Isidro (May 14-15) -- 2. Charango string traditions -- The indigenous charango of Canas, Cusco -- The mestizo charango -- Indigenous and mestizo charango styles compared -- 3. Dance dramas in mestizo Catholic festivals -- The Virgin of Carmen -- Festival activities -- The dance troupes -- 4. Andean music in Andean cities : the case of Lima, Peru -- Nationalism in the 1920s -- Regional "country music" in Lima -- Highland regional associations -- Chicha music and the children of Andean migrants -- Technocumbia -- 5. Andean music in the cities of the world -- Cosmopolitanism as a type of cultural formation -- From Buenos Aires and Paris to the cities of the world -- "Andean folkloric music" in the Andes -- Glossary -- References -- Resources -- IndexCD. 1. Tarkas of Huata Community, Carnival in Conima, 1986 -- 2. Qhantati Ururi of Ayllu Sulcata, siku lento genre, "Edith," composed by Filiberto Calderon, 22 players -- 3. Qhantati Ururi of Ayllu Sulcata, siku ligero, "Egenio" composed by Filiberto Calderon, 22 players -- 4. Qhantati Ururi of Ayllu Sulcata, siku choclo genre, circa 50 players, Easter 1985 -- 5. Ayllu Sulcata, siku imillani genre, May 1985 -- 6. Ayllu Cambria, pitu ensemble, Achachk'umu dance, May 3,1986 -- 7. Ayllu Japisi, five-hole pinkillus, Candelaria Festival, 1986 -- 8. Ayllu Sulcata, siku satiri genre, San Isidro, May 15, 1986 -- 9. Manuel Quispe, Caneño pinkullu solo -- 10. Paulina Wilka, "Punchay Kashua" song -- 11. Paulina Wilka and Manuel Quispe, vocal/pinkullu duet -- 12. Raul Quispe, charango/vocal, "Tuta Kashua" in the plaza Descanso, Canas, 1982 -- 13. Severino Piñeda, charango/vocal, "Papa Tarpuy." Canas, 1982 -- 14. Julio Benavente, charango, Raul Bohorquez, guitar, "Sonquito Corazoncito," wayno -- 15. J. Benavente and R. Bohorquez, "La Mala Yerba," wayno by J. Benavente -- 16. J. Benavente "Descansa Corazon Fatigado" yaraví, with fuga de wayno "Cuando te conocí" -- 17. Ernesto Valdez, charango, David Fuentes, guitar, "Marinera Cusqueña" -- 18. E. Valdez, charango, D. Fuentes, guitar, "Yo te perdono," vals criollo -- 19. Chuncho music, two transverse flutes, snare and bass drums -- 20. Qolla song to the Virgin del Carmen, accompanied by orquesta cusqueña (kenas, violin, harp, accordion, mandolin, drum) -- 21. Majeños dance music, brass band -- 22. Majeños' brass band playing the yaraví, "Gentil Gaviota" for the Virgin during the opening of the festival -- 23. Qhapac Negros, song for the Virgin, accompanied by orquesta (kenas, violin, accordion, harp, mandolin and drum) -- 24. Qollas song "Chas Kas Chay," with orquesta -- 25. Pastorita Huaracina, "Quisiera Olvidarte," wayno. Courtesy Iempsa -- 26. Picaflor de los Andes, "Gorrioncito," wayno by Victor A. Gil. Courtesy Arhoolie Records, www.arhoolie.com. All Rights Reserved -- 27. Trio Lira Paucina, "Vengo del Prado," wayno. Courtesy Iempsa -- 28. Centro Social Conima (regional club in Lima), "Rosaura," siku lento, 20 players -- 29. Los Destellos, "Valicha," wayno from Cusco played as chicha -- 30. Julio Benavente, charango, "Valicha," wayno from Cusco -- 31. Los Shapis, "Somos Estudiantes," chicha -- 32. Joven Sensacíon, "Tic, Tic, Tac," technocumbia. A full version of this song is available for purchase at iTunes -- 33. Urubamba, "Kachapari," cosmopolitan "folkloric music," wayno. (P) Notice and "Under license from The SONY BMG Custom Marketing Group, SONY BMG MUSIC ENTERTAINMENT" -- 34. Urubamba, "Campanas de Santa Cruz," Andean "folkloric music." (P) Notice and "Under license from The SONY BMG Custom Marketing Group, SONY BMG MUSIC ENTERTAINMENT."