資料來源: Google Book
Music in the Andes :experiencing music, expressing culture
- 作者: Turino, Thomas.
- 出版: New York : Oxford University Press 2008.
- 稽核項: xviii, 154 p. :ill., map ;22 cm. + 1 sound disc (79 min., 19 sec. : digital ; 4 3/4 in.).
- 叢書名: Global music series
- 標題: Music Andes Region -- History and criticism. , History and criticism. , Music
- ISBN: 0195306732 , 9780195306736
- 附註: 100年度教育部購置教學研究相關圖書儀器及設備計畫. Includes bibliographical references (p. 148-149) and index. Foreword -- Preface -- CD track list -- 1. Indigenous wind ensembles and community -- Indigenous identity and Aymara social style -- Musical style -- Participatory music making in Conima -- Festivals in Conima -- A~no Nuevo -- San Isidro (May 14-15) -- 2. Charango string traditions -- The indigenous charango of Canas, Cusco -- The mestizo charango -- Indigenous and mestizo charango styles compared -- 3. Dance dramas in mestizo Catholic festivals -- The Virgin of Carmen -- Festival activities -- The dance troupes -- 4. Andean music in Andean cities : the case of Lima, Peru -- Nationalism in the 1920s -- Regional "country music" in Lima -- Highland regional associations -- Chicha music and the children of Andean migrants -- Technocumbia -- 5. Andean music in the cities of the world -- Cosmopolitanism as a type of cultural formation -- From Buenos Aires and Paris to the cities of the world -- "Andean folkloric music" in the Andes -- Glossary -- References -- Resources -- Index. CD. 1. Tarkas of Huata Community, Carnival in Conima, 1986 -- 2. Qhantati Ururi of Ayllu Sulcata, siku lento genre, "Edith," composed by Filiberto Calderon, 22 players -- 3. Qhantati Ururi of Ayllu Sulcata, siku ligero, "Egenio" composed by Filiberto Calderon, 22 players -- 4. Qhantati Ururi of Ayllu Sulcata, siku choclo genre, circa 50 players, Easter 1985 -- 5. Ayllu Sulcata, siku imillani genre, May 1985 -- 6. Ayllu Cambria, pitu ensemble, Achachk'umu dance, May 3,1986 -- 7. Ayllu Japisi, five-hole pinkillus, Candelaria Festival, 1986 -- 8. Ayllu Sulcata, siku satiri genre, San Isidro, May 15, 1986 -- 9. Manuel Quispe, Cane~no pinkullu solo -- 10. Paulina Wilka, "Punchay Kashua" song -- 11. Paulina Wilka and Manuel Quispe, vocal/pinkullu duet -- 12. Raul Quispe, charango/vocal, "Tuta Kashua" in the plaza Descanso, Canas, 1982 -- 13. Severino Pi~neda, charango/vocal, "Papa Tarpuy." Canas, 1982 -- 14. Julio Benavente, charango, Raul Bohorquez, guitar, "Sonquito Corazoncito," wayno -- 15. J. Benavente and R. Bohorquez, "La Mala Yerba," wayno by J. Benavente -- 16. J. Benavente "Descansa Corazon Fatigado" yaravi, with fuga de wayno "Cuando te conoci" -- 17. Ernesto Valdez, charango, David Fuentes, guitar, "Marinera Cusque~na" -- 18. E. Valdez, charango, D. Fuentes, guitar, "Yo te perdono," vals criollo -- 19. Chuncho music, two transverse flutes, snare and bass drums -- 20. Qolla song to the Virgin del Carmen, accompanied by orquesta cusque~na (kenas, violin, harp, accordion, mandolin, drum) -- 21. Maje~nos dance music, brass band -- 22. Maje~nos' brass band playing the yaravi, "Gentil Gaviota" for the Virgin during the opening of the festival -- 23. Qhapac Negros, song for the Virgin, accompanied by orquesta (kenas, violin, accordion, harp, mandolin and drum) -- 24. Qollas song "Chas Kas Chay," with orquesta -- 25. Pastorita Huaracina, "Quisiera Olvidarte," wayno. Courtesy Iempsa -- 26. Picaflor de los Andes, "Gorrioncito," wayno by Victor A. Gil. Courtesy Arhool
- 電子資源: https://dbs.tnua.edu.tw/login?url=http://catdir.loc.gov/catdir/toc/ecip0720/2007023300.html
- 系統號: 005063551
- 資料類型: 視聽(聲音)
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Music in the Andes is one of the first books to offer a comprehensive overview of the uniquely rich and diverse musical crossroads of southern Peru and Bolivia. It explores the ways in which modern styles meet and interact with older, indigenous music to create a continuously evolving musical heritage. The book examines the major contemporary indigenous, mestizo, and urban musical traditions of the region through a series of case studies. Throughout the book, author Thomas Turino underscores the dynamic interplay between musical/cultural continuity and innovation. He also emphasizes the exceptional communicative potential of music, dance, and festivals to express ethnic, class, regional, national, and gendered identities. In addition, he considers the ethical and stylistic differences between "participatory" and "presentational" modes of making music.
來源: Google Book
來源: Google Book
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