Latin AmericaEcuador

1
Chapter 9

• Latin America/Ecuador

2
Latin America

• continent and a half
• more than twenty different countries
• dozens of different languages including Native
  Indian dialects
• diverse geographyAndes mountains, Amazon basin,
  Peruvian-Chilean deserts.

3
Musical genres of Latin America

• Salsa
• bossa nova
• calypso
• tango

4
Percussion instruments

• claves

• maracas

5
Percussion (2)

• bongos
• congas

6
Joropo

• the national dance of Venezuela

7
The Venezuelan Joropo

• CD 47 Pajarillo (Little Bird)
• very fast triple meter or a slow compound meter
• bass ostinato in harp
• cuatro - small, 4-string guitar
• cross-rhythms (polyrhythms) among the instruments
  and voice

8
Pajarillo - Timbre

• singing is in a speech-like style
  (declamatory/recitative) in a narrow melodic
  range
• Maracas
• harp
• cuatro
• male solo
• portamento (sliding to pitches)

9
Chilean Nueva Canción

• CD 48 El lazo (The Lasso) Victor Jara
• contemporary solo folk song
• by Victor Jara about 1964
• cueca-derived rhythm
• text glorifies the creative genius of rural
  Chile.

10
El lazo

• CD 48, El lazo, is A B A (ternary).
• 015A partspeech-like melody enters accompanied
  by a guitar in a free meter
• 055B part3/4 and 6/8
• 315AThe opening speech-like melody and words
  return
• 353end

11
Bolivian Kantu

• CD 49 Kutirimunapaq (So That We Can Return)
• strong rhythms reinforced by drum
• melodies are based on five-note (pentatonic)
  scales
• hocketing distributes parts of a melody to
  different players
• kantu, the melody is shared between two groups
  of panpipes players
• bamboo panpipes (phukuna, or zampoña in Spanish)
• large double-headed drums (wankara)
• triangle (chinisku)

12
Kantu

• This is kantu music, a type of ceremonial
  panpipe music from the altiplano (high plateau of
  the southern Andes mountains). This particular
  example is music of the Kallawaya people who live
  on the eastern slopes of the Bolivian Andes. The
  strong rhythmic character of the music is shaped
  by its dance function. The panpipes and their
  rhythmic, but simple, melodies performed at
  different pitch levels in parallel fashion, in a
  hocketing performance practice, characterize the
  selection and give the music its unique sound.

13
The Quichua of the Northern Andes of Ecuador

• live in small clusters of houses (comunas) on the
  slopes of Mt. Cotacachi
• a traditional people that share a common
  language, agricultural life style, and similar
  material culture (houses, style of dress, diet,
  and so on
• few motorized vehicles, roads to get to places or
  telephones for communication, up to 1990, most of
  the Quichua relied on walking purina

14
The Musical Tradition (of the Quichua) Sanjuán

• CD 410 Cascarón (thick peel, rind, or
  eggshellespecially a broken one)
• short-long-short-long-long-long-long-long motive.
• A motive is a short, but complete, melodic or
  rhythmic idea
• repetitious melody
• homophonic texture
• Imbabura harp (a smaller, diatonic version of the
  Western harp without pedals)
• golpe (time beater

15
Sanjuán and Cotacachi Quichua Lifeways

• Cada llajta is the idea that every Quichua
  community has its own special approach to music,
  customs, dress, and even the dialect of Quichua.
• arpero (harpist) and golpeador (musical time
  keeper) play . . .
• sanjuanes (melodies based on standard motives)
• comunas (communities) outside Cotacachi (their
  home community)
• matrimonio (weddings)
• misai (private Mass)
• wawa velorio (childs wake).

16
CD 411 Rusa maria wasi rupajmi (Rosa Marias
House A-Burning)

• four basic ideas
• Tragedy Rusa Marias house a-burning
• Drunkenness And Manuel, a father, very drunk
• Fright Frightened, is crying
• Courtship And young men and young women went to
  lie down together

17
CD 411

• speech-like melody
• male solo
• narrow melodic range
• repetitive harp
• golpe or time-keeping beats on the harp sound-box
  
• the recording is very informal. This is a field
  recording

18
CD 412 Ilumán tiyu (Man of Ilumán)

• recorded in stereo in a local home by a seasoned
  musical ensemble
• short-long-short-long-long-long-long-long rhythm
• repetitive unison melodies
• consonant, simple, Western-style harmonies
• Timbre/Instrumentation
• solo violin
• two notched flutes (kenas)
• drum (bombo)
• guitars
• singer(s)

19
Kena

• Andean open notched flute, commonly made of cane.
  
• It has typically five or six finger-holes in the
  lower half of the tube and one thumb-hole in the
  center at the rear.

20
The Andean Ensemble Phenomenon

• the spread of Andean music and ensembles (playing
  traditional Andean instruments) to other parts of
  the world.
• Sukay (Quechua for to work furrows in straight
  lines or to whistle musically) among the
  most well-established of U.S.-based Andean groups
  . . .
• Chaskinakuy (Quechua for to give and receive,
  hand to hand, among many) husband and wife duo
  self-described as dedicated revivalists
  performing songs in Quechua/Quichua and Spanish
  on a variety of many native Andean instruments,

21
CD 413 Amor imposible (Impossible Love)

• Chaskinakuy
• Peruvian wayno
• Latin American harp-country-genre
• (1) the harp is prominent
• (2) familiar Andean bimodality
• (3) rhythms are tapped on the harp soundbox
  rather than a drum

22
Wawa Velorio

• CD 414 Vacación
• CD 415 Ecuadorian Quichua mothers
• Wawa velorio is a ritual ceremony or wake for a
  deceased Quichua child.
• sanjuán (sung or instrumental dance music in
  eight-beat phrases and simple meter with
  golpeador)
• vacación (non-dance music for harp alone without
  golpeador
• CD 415 includes part of the Quichua mothers
  lament

23
Ritual

• A ritual is a formal practice or custom.
• calendric rituals, tied to cycles of agriculture,
  religion, or national celebrations
• life cycle rituals such as wawa veloria, a
  childs wake
• the deceased infant is present, on display, and
  beautifully presented
• somehow elevated and connected to the roof to
  symbolize the childs transformation into an
  angel and entry into eternity

24
CD 416 Toro barroso (Reddish Bull)

• performed by Don César Muquinche
• harp-playing has a fuller sound (larger harp
  sound box, more strings, all made of nylon,
  recorded in a resonant room)
• national folk music of the mestizo culture of
  ecuador

25
African-Ecuadorian Music of the Chota River Valley

• CD 417 Vamos pa Manabi (Lets Go to Manabi)
• A popular musical ensemble in 1979, Conjunto
  Rondador is made up of African-Ecuadorians
• may be descended from the slaves first brought to
  Ecuador from Africa in the sixteenth century

26
Vamos pa Manabi (2)

• Vibrato the slight, pulsating fluctuations in
  the pitch
• Vibrato adds a distinctive color and richness
  to the vocal quality
• Syncopations
• polyrhythms
• repeated patterns
• bimodal (two-chord) harmony

27
Listening

• Bolivian Kantu
• Panpipes
• Hocketing
• Amor Imposible
• Bimodal
• Golpeador
• Vacacion from Wawa velorio
• To drive away the devil