1. The Garland Handbook Of Latin American Music Part Three: Nations and Musical Traditions, South America, The Tropical-Forest Region

2. Overview  Amazon Region Largest tropical forest in the world Largest tropical forest in the world Includes much of Brazil, parts of Bolivia, Colombia, Ecuador, French Guiana, Guyana, Peru, Surinam, and Venezuela Includes much of Brazil, parts of Bolivia, Colombia, Ecuador, French Guiana, Guyana, Peru, Surinam, and Venezuela Complex history of indigenous settlement and colonial and economic transformation Complex history of indigenous settlement and colonial and economic transformation  Music Research on, and knowledge of musical traditions sparse (especially of pre-Colombian music) Research on, and knowledge of musical traditions sparse (especially of pre-Colombian music) Contemporary musical traditions reflect social processes (i.e., acculturation, adaptation etc.) Contemporary musical traditions reflect social processes (i.e., acculturation, adaptation etc.) Must be understood in relation to broader historical context, and regional and transnational processesMust be understood in relation to broader historical context, and regional and transnational processes

3. Music  Regional generalizations Relation between music and dance Relation between music and dance Inextricably linkedInextricably linked Nature of musical transmission Nature of musical transmission Oral-aural traditionOral-aural tradition Instrumentation Instrumentation Idiophones and aerophonesIdiophones and aerophones Some musical bowsSome musical bows Primarily reed and woodPrimarily reed and wood Functionality Functionality Primarily ritual (both religious and social)Primarily ritual (both religious and social) Strong connection between song and oratory (heightened speech)Strong connection between song and oratory (heightened speech) Relation between music and reality Relation between music and reality Music associated with cosmological transformationMusic associated with cosmological transformation Social aspects of music Social aspects of music Music may define relations between communities (ethnic identity)Music may define relations between communities (ethnic identity) Music may define social hierarchies (gendered and generational domains)Music may define social hierarchies (gendered and generational domains)

4. Cultural Interactions  Outside influences Result of Result of Economic, religious, and political opportunitiesEconomic, religious, and political opportunities TechnologyTechnology TourismTourism Significant immigrant populations Significant immigrant populations Escaped and free slave communitiesEscaped and free slave communities i.e., maroons i.e., maroons MissionariesMissionaries Highland indigenous and mestizo groupsHighland indigenous and mestizo groups

5. Cultural Interaction  Music, acculturation, and identity Anthony Seeger notes that innovation is a central feature of Amerindian traditions and that Amerindians have learned the songs of other communities for centuries (pp. 283 and 287) Anthony Seeger notes that innovation is a central feature of Amerindian traditions and that Amerindians have learned the songs of other communities for centuries (pp. 283 and 287) Consider Amazonian Amerindian interactions with, and responses to local, national, and international influences Consider Amazonian Amerindian interactions with, and responses to local, national, and international influences i.e., other Amerindian ethnic groups, missionaries, rural and urban national and international populationsi.e., other Amerindian ethnic groups, missionaries, rural and urban national and international populations

6. Cultural Interactions (cont).  Questions for discussion How do Amazonian Amerindian groups use music to demarcate social boundaries? How do Amazonian Amerindian groups use music to demarcate social boundaries? How does the incorporation of foreign songs figure into identity formation? What does this suggest about the relationship between music and identity? How does the incorporation of foreign songs figure into identity formation? What does this suggest about the relationship between music and identity? How might the Amazonian Amerindian concept of musical innovation/change compare with that of the Kuna (see Middle America, Kuna, p. 251)? How might the Amazonian Amerindian concept of musical innovation/change compare with that of the Kuna (see Middle America, Kuna, p. 251)? How might musical change reflect underlying social, political, and economic issues and motivations How might musical change reflect underlying social, political, and economic issues and motivations consider especially the case of the missionaries and of the “re-indigenization” of certain Amerindian ethnic groups?consider especially the case of the missionaries and of the “re-indigenization” of certain Amerindian ethnic groups? How might scholars also be implicated in the above process? How might scholars also be implicated in the above process?