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

Overview  Cultural Heritage Primarily Indigenous and European Primarily Indigenous and European IndigenousIndigenous Both Inkan and pre-Inkan (various ethnic groups) Both Inkan and pre-Inkan (various ethnic groups) Quechua, Aymara, and Guaraní spoken in Bolivia todayQuechua, Aymara, and Guaraní spoken in Bolivia today Little archeological evidence of pre-Colombian musical activities (unlike Peru) Little archeological evidence of pre-Colombian musical activities (unlike 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) EuropeanEuropean 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 on indigenous traditions greatImpact of the Roman Catholic church and of missionary activities on indigenous traditions great

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

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

Contemporary Bolivian Music  Musical instruments (cont.) Aerophones Aerophones Various panpipesVarious panpipes Julajula Julajula Siku (or zampoña) Siku (or zampoña) FlutesFlutes Quena Quena Flauta or pífano (transverse flute) Flauta or pífano (transverse flute) Pinkullus (duct flutes) Pinkullus (duct flutes) Musiñu (mohoceño) Musiñu (mohoceño) Tarka (or anata) Tarka (or anata) Pututu (horns) Pututu (horns) Bajón Bajón Chordophones Chordophones 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 Genres  Contexts and genres Intertwined as elsewhere in Latin America Intertwined as elsewhere in Latin America Close association between instruments, genres, and even tunings with specific regions, seasons, and ritual occasionsClose association between instruments, genres, and even tunings with 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 events Musical contexts often mark life-cycle or seasonal events Close relationship between music and danceClose relationship between music and dance Dance of great ritual significance Dance of great ritual significance Social identity (i.e., age, gender, class, and ethnic identity) also typically marked by particular instruments and genresSocial identity (i.e., age, gender, class, and ethnic identity) also typically marked by particular instruments and genres Include Include 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 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). 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 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)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 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?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?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?How is the notion of duality expressed in Bolivian musical traditions? Consider musical instruments, performance practice, and the ritual activities of the fiesta context 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?How might lowland Amerindian traditions, discussed by Dale Olsen and Anthony Seeger, similarly reflect particular ideologies concerning social identity?