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Before the
Viceroyalty of Peru, much of Peru was the
Inca Tawantinsuyu which united several ancient cultures such as Chavin,
Paracas,
Moche,
Chimu,
Nazca and other 20 children, the ancient people of the
Nazca culture were the musicians Columbian continent's biggest, employing some chromaticism in their ceramic antaras, unlike the Inca melodies.
Viceroyalty After hundreds of years of cultural mixing have created a broad musical landscape along the Peru.
Typical instruments used are, for example, the flute and the antara or panpipes, the drawer afroperuano and traditional guitar, that Peru also has a smaller variant, known as " charango "and the mandolin. There are thousands of dances and mestizo
Hispanic origin. The central highlands, north and south of the
Andes is famous for preserving traditional rhythms huayño and
parade. These represent the different cultures gotten in the mountains of this country and those currently in force.
For the
Incas, music, dance and song were defined by the term taki, Inca was pentatonic music combining the notes
D, F,
G, A and C to create composition that could be religious, warrior or profane. The dance, music and singing were present in all community activities or rituals.
Also, the Incas used a wide variety of musical instruments. With the conquest and subsequent colonial period, the
Peruvian territory is influenced by
European music and later afroperuana. It is documented that
Gonzalo Pizarro ordered compose songs that will enhance your image, then the
Viceroy Conde de Lemos brought from
Spain to the composer
Tomás de Torrejón y Velasco who being in the
Kings released the music of
The Purple Rose, this work orchestrated then traverse the
Cuzco, Ponds and
Guatemala.
The musical diversity was documented in the last years of the colony in Compaños
Martinez codices in watercolors in the dances seen as "The Decapitation of
Inga" or "
The Devils", as well as being embodied lot of instruments like panpipes, trumpets, guitars, marimbas and jaws. The rhythms that were fashionable in the late eighteenth and early nineteenth centuries were the yaravíes, cascabelillos, Cachúas and
Negritos.
Both the colony and during the beginning of the republican era, people made no distinction between sacred and secular music. This differentiation is initiated very loosely around 1813, finding documents that
difference between classical music and vulgar music
.
In the early
Republican Peru there must have been many local music but scores that have survived, most are
Spanish music. The churches concentrated much of the music, both religious and secular. The most important cathedrals counted with their own orchestras, hired musicians other churches for festivals and processions in
Lima documents the "fenced
Indian orchestra" with great call on the people of Lima.
Along the Peruvian Andes, in every village, there are a variety of songs and dances, as recorded numerous chroniclers, are judged "infinite" for its diversity. In Inca times, they used the word taki to refer simultaneously to both the song and the dance, as both activities were not separated from one another. With the arrival of the
Spanish produced several musical fusion processes, disappearing some takis and transforming others.
Andean music now is all mixed, as there is people that has not been touched by this process. Even the most used instruments in the Andean area is mestizo. In
Arequipa and
Southern Andes has spread greatly yaraví, melancholic style of singing, which is one of the most widespread types of singing. The original song is best known Peruvian Andes
El Condor Pasa, a traditional song composed by the Peruvian composer
Daniel Alomía Robles, who included an operetta of the same name, and was popularized in the
United States by the duo
Simon & Garfunkel. The original composition is a hymn to the sun, slow, followed by a Kashwa and Huayño leak.
Then there is the huaylas, a joyous rhythm of the central Andes. This is another widespread type of song and dance. In
Ancash rhythms grown huayño, the pleasantry, the parade and cashua thanks to the contribution of prolific musicians like
Victor Cordero Gonzales who despite having died in 1949 still inspires musicians Ancash the
XXI century. The huayño is the Peruvian Andean music genre popular, although its origin can not be traced back to Inca times, so it seems to be a distinctly mixed creation. It is grown in different variations across the Peruvian highlands. A similar genre is the tondero of Peru's north coast.
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- published: 13 Nov 2013
- views: 918