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Music in the Andes is one of many case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study.
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. In contrast with many other places--where modern styles often replace older musical traditions--in the Andes each new musical layer is added, combined, and performed along with earlier ones. This volume explores the ways in which modern styles meet and interact with older, indigenous music to create a continuously evolving musical heritage.
Music in the Andes examines the major contemporary indigenous, mestizo, and urban musical traditions of the region through a series of case studies. It also describes "Andean folkloric music," a cosmopolitan tradition that is performed in subways, streets, and festivals around the world. 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.
Drawing on Turino's extensive fieldwork in the region, Music in the Andes is enhanced by interviews with key performers, eyewitness accounts of local performances, vivid illustrations, and hands-on listening activities. It is packaged with a 70-minute CD containing examples of music discussed in the text.
- Sales Rank: #262026 in Books
- Published on: 2007-12-21
- Original language: English
- Number of items: 1
- Dimensions: 5.30" h x .80" w x 8.20" l, .45 pounds
- Binding: Paperback
- 176 pages
Review
A new book by Thomas Turino is almost certain to be very good news, and Music in the Andes is no exception ... Music in the Andes is a gem
About the Author
Thomas Turino is Professor of musicology and anthropology at the University of Illinois, Champaign-Urbana.
Most helpful customer reviews
6 of 7 people found the following review helpful.
A Cultural Exploration of Andean Music
By Dr. Debra Jan Bibel
How authentic are the Andean folkloric panpipe bands heard in streets and subways stations of the world's cities? This book, Music in the Andes, answers that question and more. Examining the music of Peru, the social functions of such music, and the musicians themselves from a cultural anthropological perspective, Thomas Turino's excellent discussion helps us fully appreciate this form of indigenous music. We learn the history, the complexity, and the distinctions of the music. Panpipes are not the only woodwinds; there are transverse flutes (pitu), end blown flutes with notched ends (e.g., kena), those with ducts (like recorders and whistles) of two types (tarkas and pinkillu). Interestingly, bands do not mix these instruments; all the musicians play one type or another flute plus drums. There are also string bands. String instruments did not exist before the Spanish invasions, but the harp, violin, guitar, and its adapted junior cousin, the charango, gained favor quickly. Indeed, the charango became the instrument for young men to woo mates. Women do not play instruments, but sing and dance. We also learn that the upper register is much favored by Peruvian natives. Also, dance dramas associated with Catholic saints and festivals are presented in detail. We learn the musical styles of criolla, mestizo, and native communities and how the influx of peoples into the cities beginning in the 1920s and the influence of radio and recordings blurred the separations. With the shrinking world via mass communication, Colombian cumbia and Caribbean sounds along with electronic instruments entered the mix. Even though professional folkloric musicians and their recordings and concerts present stylized composites and radical modifications of the core indigenous music, they whet our appetite to explore deeper. This book ably assists that goal. Included inside the book is a CD with many musical examples. These are field recordings, and if you enjoyed David Lewiston's early Nonesuch Explorer field recordings from Peru (1969, 1972), you will find this anthology a welcome bonus.
0 of 2 people found the following review helpful.
Two Stars
By Matt
Never read out of it, only used the audio CD.
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