The Garland Handbook The Garland Handbook Of Latin American MusicOf Latin American Music

Part Three: Nations and Musical Part Three: Nations and Musical Traditions, South America, BoliviaTraditions, South America, Bolivia

OverviewOverview

Cultural HeritageCultural Heritage Primarily Indigenous and European Primarily Indigenous and European

• Indigenous Indigenous Both Inkan and pre-Inkan (various ethnic groups)Both Inkan and pre-Inkan (various ethnic groups)

• Quechua, Aymara, and GuaranQuechua, Aymara, and Guaraníí spoken in Bolivia today spoken in Bolivia today Little archeological evidence of pre-Colombian musical activities (unlike Little archeological evidence of pre-Colombian musical activities (unlike

Peru)Peru) Missionary and chronicler accounts Missionary and chronicler accounts

• Suggest the predominance of song and danceSuggest the predominance of song and dance• Connection between music and beliefs (as seen elsewhere)Connection between music and beliefs (as seen elsewhere)

• European European Significant Influence on contemporary Bolivian musical traditions Significant Influence on contemporary Bolivian musical traditions

• Introduced instruments, song forms, dances, Introduced instruments, song forms, dances, • Impact of the Roman Catholic church and of missionary activities Impact of the Roman Catholic church and of missionary activities

on indigenous traditions greaton indigenous traditions great

Contemporary Bolivian MusicContemporary Bolivian Music

Musical instrumentsMusical instruments Great diversity of instrumentsGreat diversity of instruments

• Vary with region, cultural group, time of year, and ritual Vary with region, cultural group, time of year, and ritual functionfunction

• Names for instruments also varyNames for instruments also vary Introduction of European instruments spurred Introduction of European instruments spurred

development of new instrumentsdevelopment of new instruments• Imitations and hybrids Imitations and hybrids

i.e., the charangoi.e., the charango Indigenous instruments also incorporated by Jesuit Indigenous instruments also incorporated by Jesuit

missionariesmissionaries i.e., the bajonesi.e., the bajones

Contemporary Bolivian MusicContemporary Bolivian Music

Typical musical instrumentsTypical musical instruments IdiophonesIdiophones

• Cencerro (bronze llama bells)Cencerro (bronze llama bells)• Matraca (cog rattle)Matraca (cog rattle)• Paichochi (seed pod rattles)Paichochi (seed pod rattles)

MembranophonesMembranophones• Various double headed drums Various double headed drums

WankaraWankara BomboBombo Tambora Tambora

Contemporary Bolivian MusicContemporary Bolivian Music Musical instruments (cont.)Musical instruments (cont.)

AerophonesAerophones• Various panpipesVarious panpipes

JulajulaJulajula Siku (or zampoSiku (or zampoñña)a)

• Flutes Flutes QuenaQuena Flauta or pFlauta or píífano (transverse flute)fano (transverse flute) Pinkullus (duct flutes)Pinkullus (duct flutes) MusiMusiññu (mohoceu (mohoceñño)o) Tarka (or anata)Tarka (or anata) Pututu (horns)Pututu (horns) BajBajóónn

ChordophonesChordophones• Musical bows (lowland indigenous groups)Musical bows (lowland indigenous groups)• Charango (small, four or five double course stringed instrument)Charango (small, four or five double course stringed instrument)• Mandolin like instrumentsMandolin like instruments• GuitarillaGuitarilla

Contexts and GenresContexts and Genres Contexts and genresContexts and genres

Intertwined as elsewhere in Latin AmericaIntertwined as elsewhere in Latin America• Close association between instruments, genres, and even tunings Close association between instruments, genres, and even tunings

with specific regions, seasons, and ritual occasionswith specific regions, seasons, and ritual occasions• Music an integral part of many ritualsMusic an integral part of many rituals

Musical contexts often mark life-cycle or seasonal eventsMusical contexts often mark life-cycle or seasonal events• Close relationship between music and danceClose relationship between music and dance

Dance of great ritual significanceDance of great ritual significance• Social identity (i.e., age, gender, class, and ethnic identity) also Social identity (i.e., age, gender, class, and ethnic identity) also

typically marked by particular instruments and genrestypically marked by particular instruments and genres IncludeInclude

• Music for healing ritualsMusic for healing rituals• Music for social and religious celebrations (fiestas)Music for social and religious celebrations (fiestas)• Music for courtshipMusic for courtship• Music for dancingMusic for dancing

Music and Social StructureMusic and Social Structure Music as social processMusic as social process

Henry Stobart makes several references to the relation between music and social Henry Stobart makes several references to the relation between music and social identity, noting that music (or sound) and musical performance is “essentially a identity, noting that music (or sound) and musical performance is “essentially a socializing activity” (p. 432). socializing activity” (p. 432).

Consider the various examples Stobart provides illustrating this relationshipConsider the various examples Stobart provides illustrating this relationship• Consider contexts and genres, uses of music, and the relation between music and Consider contexts and genres, uses of music, and the relation between music and

beliefs (ideologies and aesthetics)beliefs (ideologies and aesthetics)

Questions for discussionQuestions for discussion• How do Bolivian highland aesthetics concerning sound production, compositional How do Bolivian highland aesthetics concerning sound production, compositional

process, and performance practice reflect local notions of community and individuality?process, and performance practice reflect local notions of community and individuality?• How are age, gender, and ethnic identity differentiated and expressed through music?How are age, gender, and ethnic identity differentiated and expressed through music?• What role does music play in the expression of group solidarity and difference, What role does music play in the expression of group solidarity and difference,

especially in the festival context? especially in the festival context? • How is the notion of duality expressed in Bolivian musical traditions?How is the notion of duality expressed in Bolivian musical traditions?

Consider musical instruments, performance practice, and the ritual activities of the fiesta Consider musical instruments, performance practice, and the ritual activities of the fiesta contextcontext

• How might lowland Amerindian traditions, discussed by Dale Olsen and Anthony How might lowland Amerindian traditions, discussed by Dale Olsen and Anthony Seeger, similarly reflect particular ideologies concerning social identity?Seeger, similarly reflect particular ideologies concerning social identity?