La música de la tarkada de las comunidades Aymara
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2018-12-27
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Universidad Nacional de Música
Resumen
La presente es una aproximación al conocimiento de la tarkada en tanto música y práctica musical. Está basada en la observación en terreno realizada entre el 2005 y 2010 en comunidades Aymara de Perú, a partir de la cual se ha podido refrendar y también cuestionar datos circulantes en la bibliografía local. No obstante, en las últimas décadas han surgido estudios de profundidad académica sobre el aspecto social de la práctica, así como sobre las cualidades acústico-morfológicas del instrumento, el aspecto propiamente musical es aún poco atendido.
Desde esta observación, el presente trabajo pone énfasis en aspectos estéticos y expresivos de la tarkada proponiendo su comprensión en coherencia con el contexto humano, y sobre todo comunitario. Luego de comentar estas características, se menciona lo relativo a su locación actual en cuanto a lugares y espacios de práctica, revisando brevemente las raíces culturales e históricas que marcan su proceso hacia la contemporaneidad. Más adelante, para iniciar un abordaje de los aspectos sonoro-musicales, se presenta un necesario análisis de las particularidades expresivas del instrumento tarka y se procede al análisis de dos formas musicales recurrentes en la práctica. Para concluir se presenta a modo conclusión cómo la práctica musical de la tarkada, más allá de tener una condición periférica y de menor presencia en los medios, constituye una forma concreta de dar sentido y sostenimiento a la interacción musical y social de sus participantes.
This work is an approximation to the knowledge of the tarkada as music and musical practice. It is based on field observations carried out between 2005 and 2010 in Aymara communities in Peru, from which it has been possible to confirm and also question data circulating in the local bibliography. However, in recent decades, in-depth academic studies have emerged on the social aspect of the practice, as well as on the acoustic-morphological qualities of the instrument, the musical aspect itself is still little attended to. From this observation, the present work emphasizes aesthetic and expressive aspects of the tarkada, proposing its understanding in coherence with the human context, and above all, the community. After commenting on these characteristics, it mentions what is related to its current location in terms of places and spaces of practice, briefly reviewing the cultural and historical roots that mark its process towards contemporaneity. Later, in order to begin an approach to the sound-musical aspects, a necessary analysis of the expressive particularities of the tarka instrument is presented and two recurring musical forms in the practice are analyzed. To conclude, it is presented as a conclusion how the musical practice of the tarkada, beyond having a peripheral condition and less presence in the media, constitutes a concrete way of giving meaning and support to the musical and social interaction of its participants.
This work is an approximation to the knowledge of the tarkada as music and musical practice. It is based on field observations carried out between 2005 and 2010 in Aymara communities in Peru, from which it has been possible to confirm and also question data circulating in the local bibliography. However, in recent decades, in-depth academic studies have emerged on the social aspect of the practice, as well as on the acoustic-morphological qualities of the instrument, the musical aspect itself is still little attended to. From this observation, the present work emphasizes aesthetic and expressive aspects of the tarkada, proposing its understanding in coherence with the human context, and above all, the community. After commenting on these characteristics, it mentions what is related to its current location in terms of places and spaces of practice, briefly reviewing the cultural and historical roots that mark its process towards contemporaneity. Later, in order to begin an approach to the sound-musical aspects, a necessary analysis of the expressive particularities of the tarka instrument is presented and two recurring musical forms in the practice are analyzed. To conclude, it is presented as a conclusion how the musical practice of the tarkada, beyond having a peripheral condition and less presence in the media, constitutes a concrete way of giving meaning and support to the musical and social interaction of its participants.
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Palabras clave
Prácticas musicales, Tarkada, Aymara
Citación
Ponce Valdivia, O. (2018). La música de la tarkada de las comunidades Aymara. Antec: Revista Peruana De Investigación Musical, 2(2), 81-89. https://doi.org/10.62230/antec.v2i2.48
