ANDEAN MOTIVES IN PERUVIAN GUITAR MUSIC
Abstract
The aim of this paper is to reveal Andean motifs in Peruvian guitar music based on a systematic view of the aesthetics of Andean sound, musical poetics of genres and the variety of their national mixtures. Research methodology is based on complex of general scientific methods, cross-disciplinary approaches,
ethnocultural and comparative analysis, which together significantly deepens the study of the specifics of sounding of the Andean instruments and Andean motifs in Peruvian guitar music.
Results. The phenomenon of the relic Andean sound as a symbol of Peruvian musical culture is considered, the historical traditions of this cult attribute of the ancient rituals of the Quechua and Aymara indigenous peoples are investigated. The effects of the timbre properties and organology of ancient local wind instruments (ken flutes, antara, samponyo), string-plucked (Peruvian harp, charango), percussion (cajon) are systematized. The collective experience of making music in Andean music is taken into account, as well as species differences within instrumental families in terms of sound range and color. Characteristic features of musical poetics are defined; the phonic ability of the collective sound to create a dense sonorous overtone mass in the conditions of archaic monody pentatonic thinking is emphasized. The fluctuations of the music in a wide household and figurative-emotional amplitude are outlined
depending on the genre content: from the roaring dance waino accompanied by the festive triumph of the community to the lonely, sad elegiac cry of the Aravi - songs about love, loneliness and suffering. The influence of Creole and Afro-Peruvian genres on local Indian traditions, the mixing of folklore elements of different ethnic groups, which penetrated into the music of the inhabitants of the highlands and coastal areas of Peru, is considered. It has been determined that the guitar heritage of contemporary Peruvian composers relies on Andean motifs due to the power of indigenism tendencies. The organic fusion of the voices of ancient Peruvian flutes with the high ringing timbre of the Indian guitar embodies sound symbols of cultural identification of the new concert repertoire. Genetic connections with primary genres are revealed in the conditions of the non-academic style of popular folk-fusion music from the album «Altiplano» by Ciro Hurtado; in the context of sound adaptation to the origins of folk melodies in the process of their arrangement in «Andean Music for Guitar» by Raúl García Zarate; the game predictably sharp contrasts between stylizations or quotations of archaic elements combined with modern musical vocabulary in the academic guitar music of Celso Garrido-Lecca.
