| Term | Definition |
|---|
| Charango | Construction (see Figure 2.3, p. 44) Charango (demo): 10-string (5 courses of double strings), round-back associated with mestizo players and folkloric groups; tuning (lowest to highest: GG-CC-eE-AA-EE) Significance to Peru's cultural history Differing styles of performance and social groupings Cultural globalization and cosmopolitanism |
| The indigenous Charango, canas, Cusco | Charango strongly associated with courting The ritual of the sirena (mermaid) Charango playing style: use of 1 or 2 fingers to strum the melody (not chords); the open strings contribute to the typically dense and "slightly out of tune" texture common in Conima (e.g., sikus) Charango type and tuning: flat-back, steel string, highest tuning preferred |
| Example of Indigenous Charango | In class assignment: indicate 1) time codes; 2) higher or lower endings; and 3) vocal or instrumental stanza Tuta kashua (Night Dance), CD track 12 Tune: comprised of two short melodic phrases lasting three beats each Verse (pp. 50-1): four-line stanzas Each phrase ends with either a higher or lower pitch |
| Mestizo Charango | T'ipi playing style: alternating strummed sections with plucking (right thumb and index finger) of diads Presentational performance as well as participatory Developed by mestizo musicians beginning in the 1920s: indigenismo movement CD track 16 (p. 62): alternates strumming with plucked melody Wayno: main genre (rhythm for couples social dance) in the mestizo repertory Form: strophic (same music for verses with different text) Bimodal: alternating between relative major and minor (e.g. A minor and C) but cadencing in the minor |
| Example of Mestizo Charango | CD Track 16 (p. 62) alternates strumming with plucked melody Wayno: main genre (rhythm for couples social dance) in the mestizo repertory Form: strophic (same music for verses with different text) Bimodal: alternating between relative major and minor (e.g. A minor and C) but cadencing in the minor |
| Marinera: | song-dance genre in a fast sesquialtera rhythm |
| Sesquialtera: | alternating or superimposing 3/4 and 6/8 meters Emphasizes the major mode |
| 2nd Example of Mestizo Charango | CD track 17, "Marinera cusqueña" Form: introduction (0:00); primera AA (0:21) and segunda BB (0:31), repeats Guitar bass line in "three" (primera or A section) Strummed guitar in "two" subdivided in quicker group of "three" (segunda or B section) |
| Compare these two styles | INdigenous and Mestizo (p.68) |
Combine with other sets
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