The Garland Handbook Of Latin American Music

1. The Garland Handbook Of Latin American Music Part Three: Nations and Musical Traditions, South America, Bolivia

2. Overview • Cultural Heritage • Primarily Indigenous and European • Indigenous • Both Inkan and pre-Inkan (various ethnic groups) • Quechua, Aymara, and Guaraní spoken in Bolivia today • Little archeological evidence of pre-Colombian musical activities (unlike Peru) • Missionary and chronicler accounts • Suggest the predominance of song and dance • Connection between music and beliefs (as seen elsewhere) • European • Significant Influence on contemporary Bolivian musical traditions • Introduced instruments, song forms, dances, • Impact of the Roman Catholic church and of missionary activities on indigenous traditions great

3. Contemporary Bolivian Music • Musical instruments • Great diversity of instruments • Vary with region, cultural group, time of year, and ritual function • Names for instruments also vary • Introduction of European instruments spurred development of new instruments • Imitations and hybrids • i.e., the charango • Indigenous instruments also incorporated by Jesuit missionaries • i.e., the bajones

4. Contemporary Bolivian Music • Typical musical instruments • Idiophones • Cencerro (bronze llama bells) • Matraca (cog rattle) • Paichochi (seed pod rattles) • Membranophones • Various double headed drums • Wankara • Bombo • Tambora

5. Contemporary Bolivian Music • Musical instruments (cont.) • Aerophones • Various panpipes • Julajula • Siku (or zampoña) • Flutes • Quena • Flauta or pífano (transverse flute) • Pinkullus (duct flutes) • Musiñu (mohoceño) • Tarka (or anata) • Pututu (horns) • Bajón • Chordophones • Musical bows (lowland indigenous groups) • Charango (small, four or five double course stringed instrument) • Mandolin like instruments • Guitarilla

6. Contexts and Genres • Contexts and genres • Intertwined as elsewhere in Latin America • Close association between instruments, genres, and even tunings with specific regions, seasons, and ritual occasions • Music an integral part of many rituals • Musical contexts often mark life-cycle or seasonal events • Close relationship between music and dance • Dance of great ritual significance • Social identity (i.e., age, gender, class, and ethnic identity) also typically marked by particular instruments and genres • Include • Music for healing rituals • Music for social and religious celebrations (fiestas) • Music for courtship • Music for dancing

7. Music and Social Structure • Music as social process • Henry Stobart makes several references to the relation between music and social identity, noting that music (or sound) and musical performance is “essentially a socializing activity” (p. 432). • Consider the various examples Stobart provides illustrating this relationship • Consider contexts and genres, uses of music, and the relation between music and beliefs (ideologies and aesthetics) • Questions for discussion • How do Bolivian highland aesthetics concerning sound production, compositional process, and performance practice reflect local notions of community and individuality? • 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, especially in the festival context? • How is the notion of duality expressed in Bolivian musical traditions? • Consider musical instruments, performance practice, and the ritual activities of the fiesta context • How might lowland Amerindian traditions, discussed by Dale Olsen and Anthony Seeger, similarly reflect particular ideologies concerning social identity?