Entre rezos y bombos. Aproximación a dos prácticas musicales de la Amazonía de Perú
Fecha
2018-08-31
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Universidad Nacional de Música
Resumen
El presente texto reúne dos expresiones musicales que tienen lugar en diferentes comunidades amazónicas: el ícaro de la comunidad shipibo, correspondiente a una práctica ritualizada y no-abierta, y el movido típico de la localidad de Pucallpa, correspondiente a los contextos festivos y de práctica abierta o colectiva. Cada una de estas músicas es abordada en un subcapítulo siguiendo el mismo procedimiento metodológico.
El enfoque musicológico se basa en la etnografía al contexto social de la música, desarrollada a partir de la data escrita y medial. Procede luego al análisis de las características musicales más significativas como son, la emisión vocal y melódica en el caso del ícaro, y la instrumentación rítmica en el caso del movido típico, teorizaciones que son expresadas en la transcripción musical proponiendo formas particulares de representación sonora junto a la notación musical convencional. En una siguiente sección se abordan aspectos de la performance musical, en tanto, estos ponen en evidencia la articulación que existe entre el músico, los receptores de la música, el espacio social y el contenido propiamente estético y simbólico de estas músicas, se aborda entre otros aspectos el vestuario, la corporalidad, el gesto musical, la acción instrumental y la interacción social.
Finalmente se plantean consideraciones de tipo conclusión preliminar en cada caso, de lo cual se procede a enfatizar, que la diversidad musical de la Amazonia peruana es múltiple no solo en formas de expresión musical a nivel estético, sino también múltiple en funciones sociales y en sostener espacios de la vida humana.
The present text unites two musical expressions located in different Amazonian communities: the ícaro of the Shipibo community, corresponding to a ritualized, non-open practice, and the movido típico of the locale of Pucallpa, corresponding to festive contexts and open or collective practice. Each one of these musics is addressed in a subsection by one author, following both the same methodological approach. The musicological focus is based on ethnography of the social context of the music, developed through written and multimedia data. This is followed by an analysis of the most significant musical characteristics including vocal and melodic transmission in the case of the ícaro, and rhythmic instrumentation in the case of the traditional movido, theorizations that are expressed in musical transcription proposing special forms of sonic representation along with conventional music notation. The following section addresses aspects of musical performance, as these aspects highlight the articulation that exists between the musician, the audience of the music, the social space, and the aesthetic and symbolic content itself of these musics. It addresses among other aspects the clothing, corporality, musical gesture, action of the instrument, and social interaction. Finally, considerations in the form of a preliminary conclusion are proposed in each case. Among these are emphasized the following, that the musical diversity of the Peruvian Amazon is multiple not only in forms of musical expression at an aesthetic level, but also it is multiple in social functions and in sustaining spaces of human life.
The present text unites two musical expressions located in different Amazonian communities: the ícaro of the Shipibo community, corresponding to a ritualized, non-open practice, and the movido típico of the locale of Pucallpa, corresponding to festive contexts and open or collective practice. Each one of these musics is addressed in a subsection by one author, following both the same methodological approach. The musicological focus is based on ethnography of the social context of the music, developed through written and multimedia data. This is followed by an analysis of the most significant musical characteristics including vocal and melodic transmission in the case of the ícaro, and rhythmic instrumentation in the case of the traditional movido, theorizations that are expressed in musical transcription proposing special forms of sonic representation along with conventional music notation. The following section addresses aspects of musical performance, as these aspects highlight the articulation that exists between the musician, the audience of the music, the social space, and the aesthetic and symbolic content itself of these musics. It addresses among other aspects the clothing, corporality, musical gesture, action of the instrument, and social interaction. Finally, considerations in the form of a preliminary conclusion are proposed in each case. Among these are emphasized the following, that the musical diversity of the Peruvian Amazon is multiple not only in forms of musical expression at an aesthetic level, but also it is multiple in social functions and in sustaining spaces of human life.
Descripción
Palabras clave
Música amazónica, Ícaro, Movido típico, Canto chamánico, Percusión amazónica, Performance musical
Citación
Irrazabal Laos, K. G., & Alcas, R. L. (2018). Entre rezos y bombos. Aproximación a dos prácticas musicales de la Amazonía de Perú. Antec: Revista Peruana De Investigación Musical, 2(1), 49–66. https://doi.org/10.62230/antec.v2i1.30
