music of the andes - bc teachers' · pdf filecharacterized music used for spirit...

Music of the Andes

On theWingsCondorof the

Published by the B.C. Teachers’ Federation Lesson Aids Service

Music of the Andes

Valerie DareJoseph “Pepe” DanzaEdgar Muenala

On theWingsCondorof the

Copyright ©1996 Britannia World Music Program

Materials may be reproduced for classroom use. All other uses require the permissionof the authors.

Britannia World Music ProgramBritannia Secondary School1001 Cotton DriveVancouver, BC V5L 3T4Tel: (604) 255-9371Fax: (604) 255-8593

Distributed byLesson Aids Service – B.C. Teachers’ Federation100–550 West Sixth AvenueVancouver, BC V5Z 4P2Tel: (604) 871-2283 • 1-800-663-9163Fax: (604) 871-2295

Funding for development and publication of World Music units is provided byThe Vancouver Foundation.

Text design and typesetting by John McLachlan

IntroductionMusic of the Andes; On the Wings of the Condor

Close your eyes and listen to the sound of panpipes—or is it the wind sweepingthrough the mountain passes of the Sierra? Andean music has the power totransport the listener to otherworldly realms where spirits still whisper their

sacred truths through the music of zampoñas and antaras (panpipes) and kena (quena)flutes. Most South American natives view their music as possessing supernaturalqualities, and Western listeners must be aware of its spiritual nature in order to gain anunderstanding and appreciation of its functions and characteristics.

Integral to the daily and ceremonial life of the Quechua and Aymara peoples,descendants of the Incas and their subjects, music accompanies the passage of life.Every occasion is marked by particular rhythms and dances pertaining to birth andburial, courtship and marriage, planting and harvesting, tributes to gods and supplica-tions to the spirits of the sun, earth, and moon. Whole villages participate in festivalswhere poems, prayers, and stories are musically interpreted.

While many Andean traditions have been absorbed by the dominant culture, someinstruments date from pre-conquest times. Kenas and antaras were used along withwhistles that played a single note and whistling pots which produced sound whenwater forced air out of a constricted head. Flute and percussion players provided musicfor the Inca court. Harmony was not employed. Instead, two or more players usedpipes of different pitches which extended the range of notes that could be played by asingle musician. Another common wind instrument was the pututu, a large conch shellwhich played a single note that carried great distances. Used for communication, thepututu was also sounded as a signal in times of war. Percussion instruments includedlarge war drums, frame drums, rattles, and bells. Drums played at important religiousceremonies were decorated with gold and silver ornaments and sometimes were solarge they required three or four players. Smaller drums, tambourines, and bells madeof copper, bronze, and silver were used in festivals. Most important ceremonies in-volved dance. Jingle rattles made of shells and beans were tied to the ankles of dancersto mark the rhythms, which were fast and measured. In contrast, a slow, free rhythmcharacterized music used for spirit communication and healing.

Stringed instruments such as the guitar, introduced by Spanish settlers, wereadapted by indigenous musicians. One of the most interesting of these adaptations isthe charango, a long-necked lute with a body traditionally constructed from an arma-dillo shell. The violin and the harp are two other instruments brought to SouthAmerica by the Spanish but played in a new way by the First Nations people.

Despite losing many of their traditional ways, the Quechua and Aymara maintaintheir cultures through language, customs, and music. Six to eight million Quechua-speaking Indians still live in villages in the highland regions of Bolivia, Ecuador, Peru,and Chile, making a living from the land and from crafts such as weaving, for whichthey are world-famous. Quechuan and Aymaran musicians have no state support asAndean music is not valued by the dominant culture. Many busk on street corners intowns and cities both in their homeland and overseas. A few of the most talentedgroups tour the festival circuit. One such group is Sisa Pacari, whose name means“Flower of the New Dawn” in the Quechua language. All but one member of SisaPacari come from a single family in the village of La Joya, north of Otavalo in Ecuador.A successful Bolivian group based in England is Rumillajta, while Canada is home to anumber of Andean musicians including the Vancouver group, America Ynka. Themusic of these groups epitomizes the power of cultural expression to sustain indigenouspeoples. In the words of Fausto Jimbo, cultural advisor to Sisa Pacari:

“Here we areWe exist.We come like the condor,floating over valleys, rivers, and mountains,expressing our songs,a message of fraternity, solidarity,in the language of the children of the sun.”

Valerie DareEdgar Muenala

Geographic Background BACKGROUND INFORMATION MAP

STATISTICS

RATING

COMPLETION ACTIVITY

DEMOGRAPHIC PIE CHART

0 1 2 43 5

Andes

Geographic Background

low high

◆ Graph the relative numbers of First Nationssoldiers and the Spanish army at the time ofthe conquest.

◆ Label the parts of the pie graph.

BACKGROUND INFORMATIONHigh in the Andes mountains, the Inca nation forged an em-pire that stretched , kilometers along the western edge ofthe South American continent. Between the years and ,the Emperor Pachacuti and his descendants conquered the peo-ples of almost nations whose labour was used to build a net-work of roads that crossed , kilometers of mountains,coastline, jungles, and deserts. Roads and other monumentalfeats of engineering which remain are evidence of a technologi-cally advanced society.

The Inca empire was subdivided into four provinces namedChinchaysuyu (northwest), Antisuyu (northeast), Cuntisuyu(southwest), and Collasuyu (southeast). The capital city andadministrative centre was Cuzco. The Inca called their landTahuantinsuyu, meaning “land of the four quarters.”

In , the Spanish conquistador, Francisco Pizarro, ledfewer than conquistadors on a successful campaign to endInca rule. Through a combination of daring, luck, and circum-stance, Pizarro and his men took from the Incas their land, theirsubjects, and more than tons of gold and silver. The nextthree hundred years of colonial rule in South America saw theindigenous population reduced from an estimated seventy toninety million people to about three and a half to four million.Today, six to eight million Quechua and Aymara people, de-scendants of the Inca Empire, still live in the mountainous re-gions of southern Colombia, Peru, Ecuador, Bolivia, and Chile.

STATISTICSSize of the Inca army in : ,Number of Pizarro and his followers:

RATINGRate the technological achievements of the Inca.

COMPLETION ACTIVITYThe emperor ________________ began the campaign todefeat 100 peoples and add their territory to the empire. At itsheight, the Inca empire stretched ___________ km from northto south. The empire was divided into ____________provinces and was called ______________.

Because of their feats of engineering, the Incas are consideredto be technologically _____________ .

DEMOGRAPHIC PIE CHART

0 1 2 43 5

Map Questions◆ Which emperor added the most territory to the

Inca empire?◆ Which emperor chose Cuzco to be the capital

city?◆ Why do you think the Inca empire stretched

north and south instead of east and west?

Andes MAP

Socio-Political Focus DIRECTIONSIn each box, draw and name the instruments described, and put a check mark to show whether the instrument is pre-conquest or post-conquest.

Andes

■ notched end flute❏ pre-conquest❏ post-conquest

MUSICAL INSTRUMENTS

■ double-row pan-flutes❏ pre-conquest❏ post-conquest

■ large conch shell❏ pre-conquest❏ post-conquest

■ ceramic, vessel■ water-filled❏ pre-conquest❏ post-conquest

■ large, double-headedQuechua drum

❏ pre-conquest❏ post-conquest

■ a small lute, adaptedfrom the guitar


■ played throughout theAndean region


■ stringed instrumentintroduced by Euro-peans and popularwith indigenousmusicians


■ stringed instrumentintroduced in the late by Irish Jesuits


■ double-headed drumplayed with sticks


Socio-Political Focus DIRECTIONSHave students use the information below to complete the facing page.

Andes

■ Most commonly playedflute

■ notched end, soundholes in front, on theback

■ produces warm, soft notesas well as clear, sharp ones

Pre-conquest(indegenous)

Post-conquest(introduced by the Spaniards)MUSICAL INSTRUMENTS

■ double-row pan-flutes■ varies in size■ players can alternate■ most characteristic sound

in Andean music

■ large conch shell■ trading item■ sound carries over long

distances

■ ceramic vessel■ water-filled■ air is forced through a

narrow opening

■ large, double-headeddrum

■ animal skins are ropedtogether

■ deep sound■ Quechua word for drum

■ local adaptation of theguitar

■ double strings■ sound box sometimes

made from armadilloshell

■ various sizes

■ played throughout theAndean region

■ introduced by Europeans■ popular with indigenous

musicians

■ introduced in the late by Irish Jesuits

■ enlarged sound box■ stings

■ double-headed drum■ played with sticks■ possibly originated in

Turkey

Kena

Sikus

Charango

Guitar

Pututu Violin

Whistling pot Harp

Wankara Bombo

Viewing Guide DIRECTIONSWatch the first seven minutes of the video Incas; Secrets of the Ancestors, and answer the questions below.

Andes

1. In what year was Inca civilization at its height?

3. What is the name of the leader and whom did hedefeat?

2. What kind of war has just ended?

4. Name three things that made the land of the Incas adifficult place to live?

5. Were the Incas the first civilization in the region?

❏ yes❏ no

6. What well-known past civilization is compared tothe Inca Empire?

Which civilization is earlier?

7. Which god was considered to be the Inca’s spiritualfather?

8. What is one of the Inca’s creations that hasendured?

9. EVALUATION How do you know that the Incaconsidered communication througout the empire tobe important?

10. CHOICE What did you see or hear that mostimpressed you about the Inca civilization?

11. MAKE YOUR OWN QUESTION 12. MAKE YOUR OWN QUESTION

Viewing Guide DIRECTIONSHave students watch the first seven minutes of the video Incas; Secrets of the Ancestors, and answer the questions below.

1. In what year was Inca civilization at its height?

a.d. .

3. What is the name of the leader and whom did hedefeat?

Atahuallpa defeated his brother.

2. What kind of war has just ended?

a civil war

4. Name three things that made the land of the Incas adifficult place to live?

a. volcanoesb. earthquakesc. thin air

5. Were the Incas the first civilization in the region?

❏ yes❏ no

6. What well-known past civilization is compared tothe Inca Empire?Roman Empire

Which civilization is the earlier?Roman

7. Which god was considered to be the Inca’s spiritualfather?

Inti, the Sun God

8. What is one of the Inca’s creations that hasendured?

eg. a city in the mountains (Machu Picchu)

9. EVALUATION How do you know that the Incaconsidered communication throughout the empireto be important?

10. CHOICE What did you see or hear that mostimpressed you about the Inca civilization?

11. MAKE YOUR OWN QUESTION 12. MAKE YOUR OWN QUESTION

Andes

✓

Listening Guide DIRECTIONSListen to the song, Cayambeño, by Sisa Pacari, from the CD recording, Wardance Against the Invadors, and circle theappropriate word or words.

STYLEa capella or accompanied fast tempo or slow temposolo or chorus simple or complexcall and response always changing or repetitivemelismatic or one note per syllable

INSTRUMENTS

gong electric guitar keyboard xylophone

drum kit chirango marimba bodhran

saxophone bombo bass guitar piano

bongo drums rattle acoustic guitar flute kena

MY FEELINGS

curious or content

excited or peaceful

angry or romantic

happy or sad

calm or energetic

powerful or weak

confident or confused

homesick or content

THE PICTURE I SEE

Andes

Listening Guide DIRECTIONSHave students listen to Cayambeño, by Sisa Pacari, from the CD recording, Wardance Against the Invadors, and circle theappropriate word or words. This song was sung and danced at Inti Raimi, the festival held to honour the Sun God, Inti,on the day of the winter solstice.

STYLEa capella or accompanied fast tempo or slow temposolo or chorus simple or complexcall and response always changing or repetitivemelismatic or one note per syllable

INSTRUMENTS

gong electric guitar keyboard xylophone

drum kit chirango marimba bodhran

saxophone bombo bass guitar piano

bongo drums rattle acoustic guitar flute kena

MY FEELINGS

curious or content

excited or peaceful

angry or romantic

happy or sad

calm or energetic

powerful or weak

confident or confused

homesick or content

THE PICTURE I SEE

Andes

Song Writing DEFINITION MODEL SONG LYRICS

DEFINITION:

DIRECTIONS THE NEW SONG

TITLE:Step 1: Watch the teachermake the first line.

Step 2: Help the teachermake the second line.

Step 3: Make a third linewith the teacher’s help.

Step 4: Write a fourth lineyourself.

WHAT IS A ?

Andes

Song Writing DEFINITION MODEL SONG LYRICS

DEFINITION:

Expresses deep emotions toward the subject of the song;can be joyful, but is often melancholy.

■ can be addressed to a loved one.■ may show depth of feeling for one’s country or

people.■ often uses metaphor (indirectly comparing one

thing to another).

DIRECTIONS THE NEW SONG

Sariri*

Quechua

Part 1Llactaman chayana caniñucata Mama shuyajumQuechuacunapac AlpapallaFacha laya llactagu

Part 2Ura Manta purijcunac caniMama quillacsha purinchicñuca mashi Wayrawuanñuca yuyaipi pillushcaRuna samay shunguanruana ucupi Wayrawuan

* song Sariri, courtesy of Edgar Muenala

TITLE:Step 1: Watch the teachermake the first line.

Step 2: Help the teachermake the second line.

Step 3: Make a third linewith the teacher’s help.

Step 4: Write a fourth lineyourself.

WHAT IS A love song ?

Andes

English

Part 1I have to go to my villagewhere my mother is waiting for mein the land of dark-skinned peopleand the beautiful landscape.

Part 2I am Sariri from the Andes.I have walked for many moonswith the Wayra spirit as a friend,surrounded by my memories,with the warmth of my racewithin my flowing poncho.

Dance DIRECTIONSListen to examples of wayno songs. Find pictures of traditional costumes and colour the clothing shown below.

Andes

COSTUME AND/OR INSTRUMENTS DESCRIPTIONThe wayno (or huayno) is the national dance of Peru. Thename refers both to a dance style and a musical genrewhich dates from pre-Colombian times. Characteristicsinclude a moderate tempo and an ending section called afuga in which the theme of the song is repeated at twice theoriginal tempo.

The wayno dance is a scarf dance performed by couples.It may be accompanied by groups of panpipes and a drum,by various stringed instruments, or even by a brass band.

The theme of most waynos is romantic love.

ILLUSTRATION OR STEPS DIAGRAM

from Music of the Andes; an Introduction to the Instruments Pre and Post Conquest.

Dance DIRECTIONSHave students listen to examples of wayno songs by Sukay. Have students find pictures of traditional costumes and col-our the clothing shown below.

DESCRIPTIONThe wayno (or huayno) is the national dance of Peru. Thename refers both to a dance style and a musical genrewhich dates from pre-Colombian times. Characteristicsinclude a moderate tempo and an ending section called afuga in which the theme of the song is repeated at twice theoriginal tempo.

The wayno dance is a scarf dance performed by couples.It may be accompanied by groups of panpipes and a drum,by various stringed instruments, or even by a brass band.

The theme of most waynos is romantic love.

COSTUME AND/OR INSTRUMENTS

ILLUSTRATION OR STEPS DIAGRAM

Andes


Musical Instruments DIRECTIONSUse the cd-rom program, Musical Instruments, to research the ___________________ .

NAME & CLASSIFICATIONmembranophone idiophone chordophone aerophone

ORIGINS & GEOGRAPHICAL DISTRIBUTION

PERFORMANCE DETAILS MATERIALS FAMILY

LOOKS LIKE RELATED INSTRUMENTS

wood

metal

skin

bone

plastic

SIZE

PITCH RANGE

Andes

Musical Instruments DIRECTIONSHave students use the cd-rom program, Musical Instruments, to research the charango, or other indigenous instrument.

NAME & CLASSIFICATIONCharango membranophone idiophone chordophone aerophone

ORIGINS & GEOGRAPHICAL DISTRIBUTION

PERFORMANCE DETAILS MATERIALS FAMILY

Strings

LOOKS LIKE RELATED INSTRUMENTS

LuteBouzoukiOudBalalaikaChitaronneUkeleleBanjoPipaShamisenMandolinSitarYuegin

wood ✔

metal ✔

skin

bone

plastic

armadillo shell ✔

43 – 64 cm SIZE

PITCH RANGE1 3/4 octaves

■ adapted from the bandurria, a guitar-like instrument introduced by Spanishsettlers

■ made originally from an armadillo shell■ the name comes from the Quechua

word, kirkinchu, meaning “armadillo”■ played in the Andean region of South

America

Played mainly by men, the charango has five sets of double stringsstrummed to provide accompaniment to folk music performed duringcourtship or festival dances. The charango is commonly used in contem-porary latin music ensembles as a rhythm instrument.

Andes


Musicians DIRECTIONSDesign an album cover which expresses the spirit of the music played by the Andean group you enjoy the most.Complete the information about the music of each group or artist.

ALBUM COVER

GROUPName: Sisa PacariRhythm Style:Instruments Played:

A Song Title:Genre/Purpose for Song:

GROUPName: SukayRhythm Style:Instruments Played:


GROUPName: America YnkaRhythm Style:Instruments Played:


GROUPName: RumillajtaRhythm Style:Instruments Played:


Andes

Musicians DIRECTIONSHave students listen to each of the following groups, choose one, and design an album cover which expresses the spiritof their music.

ALBUM COVER

GROUPName: Sisa PacariRhythm Style: LamentoInstruments Played: bombo

sikusrattlekenacharangoguitar & bass guitar

A Song Title: El Condor Pasa*Genre/Purpose for Song: political* from Wardance Against the Invaders

GROUPName: SukayRhythm Style: WaynoInstruments Played: sikus

charangoguitardrumrattle

A Song Title: Khuyaylla*Genre/Purpose for Song: dance* from Huayrasan

GROUPName: America YnkaRhythm Style: Inti Raimi (San Juanito)Instruments Played: kenas

rattle (chacchas)guitarbandolinviolin

A Song Title: Sabado Chishi*Genre/Purpose for Song: dance* from Ynka Nan

GROUPName: RumillajtaRhythm Style: unknownInstruments Played: zampoña

kenaantaracharangoguitarbombo

A Song Title: Tempestad*Genre/Purpose for Song: unknown* from Wiracocha

Andes

AndesReligion DIRECTIONSUse the text on the opposite page to make notes in point form on each of the topics listed. Notes on Religion are donefor you as an example.Note: there is no example given for a prayer song, as these were secret.

RELIGIONSun■ ancestor of the Incas■ associated with prestige, power■ studied by astronomers

• movements recorded in 12-month calendar■ “giver of life”

• matured crops such as maize (corn)• most important crop• associated with the sun• grown in the intipampa (field of the sun)

EXAMPLEPrayer Song

FOCUSInti Raimi■ Time of Year

■ Sacrifices

■ Celebrations

WORSHIPPrayers Paying reverence■ Informal ■ landmarks

■ Formal ■ festivals and ceremonies

AndesReligion DIRECTIONSHave students use the text below to make notes in point form on the student activity sheet on the facing page.

RELIGIONThe sun was considered to be the divine ancestor of theInca dynasty and was associated with prestige and power.Inca astronomers studied the sun’s movements and re-corded them in a twelve month calendar closely linkedwith agricultural practices. The sun in the cold highlandswas the “giver of life” whose presence transformed theenvironment and brought about the maturing of vitalcrops, such as maize (corn). Maize was the colour of thesun’s rays and became associated with divinity. As a cropit was given priority in the intipampa (field of the sun) be-side the main temple of the Inca religion, the Kojcamchain Cuzco.

EXAMPLEThe words for songs performed at Inti Raimi were secretand therefore cannot be reproduced here.

FOCUSInti RaimiThe “Feast of the Sun” was held in the hills near the capi-tal city of Cuzco at the winter solstice in June. Sacrifices,including children, gold and silver vessels, and white lla-mas were offered to the Sun God, Inti Raimi. After thesacrifices, the celebrations continued with feasting anddancing. Dancers in elaborate costumes tied rattles aroundtheir ankles, assumed traditional dance formations, anddanced to the sounds of flutes, bells, panpipes, and drums.

WORSHIPPrayers and communications with the gods could be made silently, aloud, or with gestures. Prayers could be made upinformally to suit the occasion, or priests and friends could be asked to say more formal prayers. Traditional prayers wererecited at important ceremonial occasions. Reverence was also paid to landmarks such as water sources, fields of the sun,and mountains in simple ways such as adding a stone to the apacita (pile of stones). Preparation for most festivals andceremonies almost always included cleansing and fasting by the participants.

Folk Tale page 1

DIRECTIONSRead Necklace of Stars and complete the activity sheets.

INSTRUMENT LOOKS LIKE WORDS THAT DESCRIBE THE INSTRUMENT ARE:Looks like: Sounds like:

TITLE

CHARACTERS VOCABULARY

The main characters are:

The hero of the story is:

The villain of the story is:

New words I learned are:

means

means

means

means

means

means

means

The story includes a musical instrument called the

Andes

Folk Tale page 1

DIRECTIONSHave students read the story Necklace of Stars, and complete the activity sheets.

INSTRUMENT LOOKS LIKE WORDS THAT DESCRIBE THE INSTRUMENT ARE:Looks like: Sounds like:

tubes wind

raft breath

stone flute

carved echo

TITLENecklace of Stars

CHARACTERS VOCABULARY

The main characters are:

Miguel

Miguel’s parents

The hero of the story is:

Miguel

The villain of the story is:

New words I learned are:

poncho means a kind of coat without sleeves

eucalyptus means a tall evergreen tree with

Coya means a personal name; Inca queen

majestic means stately and dignified

emerald means a green colour;

ancient means old; traditional

echoed means repeated

The story includes a musical instrument called the panpipes

Andes

aromatic leaves

a precious stone

Folk Tale page 2

SETTINGThe physical setting for the story looks like:

THEMEThe central idea of the story is:

PLOT

Introduction

Rising Action

Climax

Conclusion

Andes

Folk Tale page 2

SETTINGThe physical setting for the story looks like:

THEMEThe central idea of the story is:

All the riches of the world can’t compare to the warmth and security of home and family.

PLOT

Introduction

Rising Action

Climax

Conclusion

Andes

• Miguel lives highin the mountainsin a hut with hisparents.

• Everyone else hasgone to the citiesin search of abetter life.

• Miguel plays by himself.• He listens to his father’s stories and

goes to find an emerald lake.• He finds the lake and tries to capture

seven ducks so he will be wealthly.• He captures the ducks with a

necklace made from stars.

• Miguelmustchoosebetweenwealth andhis parents.

• Miguel chooses to staywith his parents.

• He is no longer curiousabout the outsideworld.

• The necklace of stars ischanged to emeraldsand seven ducks.

Glossary of Terms DIRECTIONSWrite the meaning of each of the following words. Draw a picture or write a sentence which shows the meaning ofthe word.

WORD MEANING SENTENCE OR ILLUSTRATIONAntara

Aymara

Charango

Cuzco

Inti

Kena

Pututu

Quechua

Sikus

Tahuantinsuyu

Wayno(Huano)

Andes

Glossary of Terms DIRECTIONSHave students complete either word, meaning, sentence, or illustration for the following terms.

WORD MEANING SENTENCE OR ILLUSTRATIONAntara

Aymara

Charango

Cuzco

Inti

Kena

Pututu

Quechua

Sikus

Tahuantinsuyu

Wayno(Huano)

single-row pan-flute fromPeru

First Nations people fromBolivia

small guitar-like instru-ment traditionally madefrom an armadillo shell

capital city of the Incas

the Sun God

end-blown flute

conch shell used as atrumpet

descendants of the Incas

double-row pan-flutes

“Land of Four Directions;”name of the Inca homeland

a 2/4 dance rhythm; amusical genre

Andes

Instrument Building MATERIALS■ 5 feet of stiff plastic tubing with a diameter of 5/8".■ plugs for the tubes (plasticine will work).■ yarn to lace pipes together.■ sharp knife■ ruler■ 4 flat sticks about 6" long

DIRECTIONS1. Cut the tubing to eight lengths which correspond to the solfa scale:

do 8 3/8" sol 5 3/8"re 7 1/2" la 4 3/4"me 6 1/2" ti 4 1/4"fa 6" do 4"

2. Plug the bottom of the tubes.3. Place the flat sticks against the tubes and wind yarn around them to hold them secure (see illustration). The pipes

may also be glued together for added stability.4. Hold the panpipes vertically and blow across them at a 45º angle. Take a deep breath as often as necessary.

ILLUSTRATION

Panpipes

Performance/Workshop RESOURCE PEOPLEName: Edgar Meunala, Aristic Director of America YnkaContact Information: 4010 Dominion Street

Burnaby, bc v5g 1c3Tel (604) 872-7466 / Fax (604) 872-7466

Audience Participants: Suitable for students in grades 6-10 (curriculum tie with grade 6 social studies)

PERFORMANCE/WORKSHOP DESCRIPTIONCulture of the Quechua People.

Focus: Edgar will provide a historical, geographical, and sociological overview of the Inca Empire, includinglanguage and music. He will show examples of crafts and demonstrate traditional instruments.

STAGING REQUIREMENTS

LEARNING RESOURCESMap of South Americarecording, Ynka Nan, by America Ynkaequipment needed: CD Player

PRE-PERFORMANCE SUGGESTIONSIntroduce the history of the Inca Empire from to .

POST-PERFORMANCE SUGGESTIONSExamine the socio/political history of the Quechua and Aymara and their ties with North American First Nations peoples.

Stage Diagram

Andes

Best done in a classroom, the workshoprequires no special equipment. Needed are anelectrical outlet, somewhere to hang the map,and a display table for crafts and instruments.

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Reference Sources BOOKSAlltree, Judith. Sisa Pacari, Flower of the New Dawn; an Educational Guide and Introduction to the Country, the People and

Music of Ecuador. Toronto: Novater Artists ©1996.Blackwood, Alan. Music of the World. London: Quarto Publishing, ©1991.Charles, Veronika Martenova. Necklace of Stars.* Toronto: Stodart, ©1996.Kendall, Ann. Everyday Life of the Incas. New York: GP Putnam’s Sons, ©1973.Music of the Andes; an Introduction to the Instruments Pre and Post Conquest. Vancouver: Frances York, ©1988.Musical Instruments of the World. New York: Facts on File, ©.Olsen, Dale A. “Symbol and Function in South American Indian Music,” from Musics of the Many Cultures—an

Introduction. Berkeley: University of California Press, ©1980. pp. -.Olsen, Dale A. “Folk Music of South America—a Musical Mosaic,” from Musics of the Many Cultures—an

Introduction. Berkeley: University of California Press, ©1980. pp. 386–425.Waring, Dennis. Making Wood Folk Instruments. New York: Sterling Publishing Co., Inc., ©.Wolfe, Charles B., Jan Fairley and Margaret Bullen. “Andean Music: Beyond the Panpipes and Ponchos,” from World

Music; the Rough Guide. Toronto: Penguin Books, ©. pp. -.

SOUND RECORDINGSAmerica Ynka. Ynka Nan; the Sound of the Mountains.* Bonn: Bonn Music, 1993.Rumillajta. Wiracocha.* Bristol: Rumillajta Recordings, ©.Sisa Pacari. Wardance Against the Invadors.* Toronto: Novadisk Music, .Sukay. Huayrasan.* Chicago: Flying Fish Records, ©.

VIDEOHow to Play the Flutes of the Andes; taught by Sukay. Woodstock: Homespun Tapes, ©1987.Inca; Secrets of the Ancestors.* Alexandria:Time–Life Video and Television, ©.

CD ROMMusical Instruments.* Microsoft, ©1992.World Beat. Redmond: Medio Multimedia Inc., ©1994.

RESOURCE PERSON FOR UNITEdgar Muenala4010 Dominion StreetBurnaby, bc v5g 1c3Tel (604) 872-7466 / Fax (604) 872-7466

* Reference sources used in this unit.

Andes

music of the andes - bc teachers' · pdf filecharacterized music used for spirit...

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