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The Garland Handbook of Latin American Music

The Garland Handbook of Latin American Music. Part Three: Nations and Musical Traditions, South America, Q’eros. Overview. Q’eros Several Quechua speaking Andean Amerindian communities (province of Paucartambo, Peru) Musical practices a blend of Incan and pre-Incan traditions

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The Garland Handbook of Latin American Music

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  1. The Garland Handbook of Latin American Music Part Three: Nations and Musical Traditions, South America, Q’eros

  2. Overview • Q’eros • Several Quechua speaking Andean Amerindian communities (province of Paucartambo, Peru) • Musical practices a blend of Incan and pre-Incan traditions • Music an integral part of rituals • Linked with cosmology and way of life • Q’eros mainly herders and farmers • Exploit several ecological zones • Acculturation minimal • Traditions maintained; coexist with contemporary elements • i.e., the Hatun Q’eros community (focus of chapter)

  3. Q’eros Musical Traditions • Musical instruments and contexts • Remain relatively unacculturated since arrival of Spanish • Instruments primarily those used during time of Inca • Panpipes (qanchis sipas, qori phukuna, or choqewanka) • Linked with Q’eros sacred beliefs • Reflect Andean concept of duality (in construction) • Flutes (i.e., Pinkuyllu) • Used in fertility rituals, also for Carnaval songs (Pukllay taki) linked with surrounding environment • Also reflect Andean concept of duality in its relation to female vocal part • Trumpets (Pututu)

  4. Q’eros Musical Traditions • Contexts and Genres • Festivals • Several major seasonal agricultural and animal veneration festivals • Often coincide with Roman Catholic calendar • Musical genres specific to context, or type of animal • Women sing and men play pinkuyllu • Song (and flute accompaniment) an individual expression • Tells personal story • Flute and voice coincide only occasionally • Tuning of flute specific to instrument • Several songs may sound simultaneously, only occasionally coinciding

  5. Q’eros Music and Social Identity • Individuality, community, and gender through music • Emphasized throughout this handbook is the notion that music is social. As such, it comes to express different ways of being and relating with not only the physical world, but also with the metaphysical (or supernatural) world • Consider how Q’eros musical traditions reflect Q’eros notions of sociality • Questions for discussion • What do Q’eros musical traditions tell us about the relationship between 1) individuals and the greater community, and 2) males and females in Q’eros society? • What do Q’eros musical traditions tell us about the relationship between Q’eros and the natural environment (including their animals and surrounding landscape)? • How are these relationships expressed through music? • How might this relate to other Amerindian traditions in Latin America?

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